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The Annals 
 
 OF 
 
 The Edinburgh Stage. 
 

W. H. MURRAY. 
 
 From the Eng raring a/ter R. A iexander's Picture. 
 
Th 
 
 Annals 
 
 OF 
 
 The Edinburgh Stage 
 
 WITH AN ACCOUNT OF THE 
 
 Rise and Progress of Dramatic Writing 
 
 in Scotland 
 
 BY 
 
 JAMES C. DIBDIN 
 
 O- 
 
 EDINBURGH 
 
 RICHARD CAMERON, i SOUTH ST DAVID STREET 
 
 I 8 8 S 
 

 • • • •* • 
 
 Edinburgh : 
 Printed by David Macdonald, 42 Hancrfer 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. 1 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 down. 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 
 
 44C842 
 
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 dififi- 
 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. 
 
b 
 
 CONTENTS. 
 
 PREFACE, 
 
 FIRST PERIOD, EXTENDING TO 1691. 
 
 5 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, 
 V. — Lee's Management, 1752-1756, . 
 VI. — Douglas, ..... 
 VII. — DiGGEs' Management, 
 VIII. — Canongate Concert Hall — Continued, 
 IX. — Jackson, Digges, and Bellamy, 
 
 X.— Canongate Concert Hall, 1764-5 lo 1767, and Canong.vie Theatre 
 Royal, 1767-1769, 
 
 
 59 
 
 
 70 
 
 
 85 
 
 
 93 
 
 
 104 
 
 
 112 
 
 _. r^ . ^,^ --r , 
 
 
 132 
 
 FOURTH PERIOD, 1769 TO 1809. 
 
 XI. — The Theatre Royal in Shakspere Square, . 
 
 XII. — Jackson's Reign, ..... 
 
 XIII. — The New Patent, .... 
 
 151 
 181 
 
 206 
 
vin 
 
 Contents. 
 
 CHAPTER 
 
 XIV. — Stephen Kemble's Management, 
 XV. — Jackson again Man.\ger, 
 
 I'AGK 
 223 
 
 241 
 
 FIFTH PERIOD, 1809 TO 1851. 
 
 XVI. — The Siddons Reign, . . 
 XVII.— Rob Roy, 
 XVIII.— The King's Visit, 
 XIX.— The Circus, 
 
 XX. — Murray's Reign — First Decade, 
 XXI. — Murray's Reign — Second Decade, 
 
 257 
 286 
 299 
 332 
 349 
 378 
 
 SIXTH PERIOD, 1851 TO 1888. 
 
 XXII. — The New Managements, . . . . . .427 
 
 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 29TH 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. 
 
 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 lollovving 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,+ 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. X Halliwell spells it " Guisers." 
 
 t Hone's Ancient Mysteries, &c. § Boethii Scotorum Ilistori.i, p. 251.— AV, Paris, 1574. 
 
The Annals of tlie EdinburgJi 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;}: 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 Irving's Scottish Poetry, p. 447. 
 
 + Percy's Notes on the Northumberbnd Household Book, quoted by Irving, p. 447. 
 
 X The Anecdote is also printed in Sir Walter Scott's Notes to "The Abbot." 
 
 § P- 446. 
 
6 The Annals of the Edinburgli 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 Blude," 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 j^ortion 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 i486, 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. 
 
 X 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. 
 
The Annals of i/ie 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 t : — 
 
 " Item, It is statute and ordained, that in all times cumming, 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 Htide, Little 
 John, Abbot of Utireasofi, 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 1 3th.) I 
 
 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. 
 
 t 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 Grahame 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 WilHam 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 kejHt 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 20th (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 12 th the play or plays 
 must have been performed. 
 
 On the latter date (October 12th), 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 \Valter mak the play geir underwritten 
 furth cumand to the town quhen thai half 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 enlries see Extracts from the Records of llie Burgh of Edinburgh, 1869. 
 
I 
 
 The Annals of the Edinbtirgh 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 that | he sat nine hours while it was " playit at 
 Grenesyd before the Ouene Regent," adding that his seat was on the 
 hank. That Mary of Guise was better provided for is shown by the 
 lollowing 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- 
 
 + A heady 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, ]). 7. il Notices illustrative of the Drama, Kelly, p. 19. 
 
lo TJie 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 the 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 travail takin in the play maid at the tryumphe of our Souerane 
 Ladyis Manage 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 </.... 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 Knox| 
 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, 
 quhom 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 9th (1561) 
 
 * In St. Giles. + 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 spent| 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 oure realme, nochttheless 
 as we ar informeit ye intend to elect and chus personis to beir sic offices this mail 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 Uayes." 
 
 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 
 
 * Auijust aSth. tTown Council Records, August 28th. 
 
 J Town Council Records and Treasurer's Accounts. 
 
 § Quoted from Sir David Dalrymplc's "Historical Memorials," 1769, p. 41. 
 
 II Hook of Universal Kirk, per " Historical Memorials." 
 
The Annals of the Edinbtirgh 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 27th 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 1588, Greenslde would seem to have still been used for 
 plays, for on November ist, John Hill, who was tenant of that land, " wes 
 discharget of ony teilling and ryving of ony pairt of the playfeyld." 
 
 * Book of Universal Kirk, 
 
CHAPTER II. 
 
 THE DRAMA IN SCOTLAND UNDER COURT 
 PATRONAGE. 
 
 N 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 apparendy 
 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. "J 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. % 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 entided 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 Edinbw'gh 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 Bothwell 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 ike Edinburgh Stage. ly 
 
 the prescence . of the king and qwene, and then daunses war daunced." 
 At this time John EngHsh 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,j "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. 
 
 + 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." 
 
 1! 
 
1 8 The Annals of the Edinburgh Stage. 
 
 at Linlithgow, before the king, queen, and the " hoole counsaile spirituall 
 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 gready 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, t History of Scottish Poetry, p. 381, 
 
The Annals of the Edinburgh 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, t 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 17th 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 
 1579, very 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. Kuox's History of the Reformation, p. 22. Spottis- 
 wood's History of the Church of Scotland, p. 66. 
 
 + 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 Bann.ityne 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 proclamatiounis 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 I.ittill, 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 subj"ect 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'"" 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. iij": 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. 
 
The Annals of the Edinbtirgh Stage. 1 1 
 
 James VI. is by no means likely. The next record of a company 
 being in Edinburgh is in 1 599 ; 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."* Evidently, by this, James VI. was 
 acquainted with Fletcher previous to 1595. On April 15th, 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"'^'' directioun geven to Sir George Elphingstoun to 
 be delyverit to ye Inglis c'omedians to by tymber for ye preparatioun of ane hous to thair 
 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 Majestie and the saidis Lordis ordanis ane officiar of amies 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, publischhe admonische thair awne flockis to 
 reverence and obay his Majestie, 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 
 Majestie 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 uoun 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. 
 
 + The Register of the Privy Council of Scotland, vol. vi., p. 39. 1SS4. 
 
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 thalrof, unac- 
 quenting his Majestic of befoir with ony lawful! ground or caus moveing thame thairto ; with 
 the quhilk thair crrour and oversicht thay being now better advisit and haveing all convcnit 
 on this mater, and willing nawise to be contentious with his Majestic, bot in all reverence 
 and humilitic 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 acknawlegcing 
 of their formar errour, rasche and unadvised proceidingis, have now by ane uther act cassit, 
 annullit and dischargeit thair formar act forsaid, and hes ordanit the same to be ineffectual! 
 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 icth, 1599.)" 
 
 From the Treasurer's accounts t we get the following additional infor- 
 mation : — 
 
 November 1599. '■^ Item, to w@ forsy' messenger passund w' I'res [letres] to the Mercat 
 Croce of Ed'' chairging ye elderis and deacouns of the haill four sessionis of Y.6? to @null 
 thair act maid for ye discharge of certane Inglis Comedianis, x s. viij d." 
 
 " Item, to the said William passand w' utheris I'res [letres] to the said Mercat Croce and 
 thair efter sound of trumpet notyfeing his ma''" ples'r [pleasure] to all his liegis that ye saidis 
 c'omediants my' use thair playis in Ed"', 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'''='^ warrand thairupone 
 testifeis, iij"= 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 :— 
 
 "Item, payit be precept to Roger Aschetoun to be gevin to certane Inglis Coniedianes 
 as ye samin w' 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. + 1'. 34. X Kennedy's .\nnals of Aberdeen. 
 
The Annals of the Edinbtirgh 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 mariage betwene age and zouth. 
 Imprinted at Edinburgh be Robert Charteris 1603. Cum privilegio 
 Regal i." 
 
 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, Darms, 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 Crcesus (1604), The Alexandrcean 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 77/6' 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 IVIajesty'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 Sydserf's 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 
 
 I774-)1: 
 
 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 Nug£E Scotica;. 
 
 X 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 
 day of August next to come."* 
 
 In the following year (1670), the " Councill " gave James Underwood 
 permission to exercise the " motion or play called the. Judgtnent of So Ionian 
 and other playes." 
 
 The Drama was unquestionably gaining a footing, not only in 
 Edinburgh, but in other parts of Scodand. This is well shown by 
 the following excerpts from the note-book of Sir John Foulis, Bart. 
 of Ravelstoun : — 
 
 " 167 1, 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, 5/." 
 
 " 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, jQ6, 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, jQ2, SI." 
 " 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, emijowering 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 sjaeak to the Lord Chancellor about the 
 matter. The Lord Chancellor told the deputation he could do nothing, 
 
 * Records of Edinburgli, p. Ji ; and Nugse Scotica;. + 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 
 eache 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, 
 AVith the same ruin have o'erwhelm'd the stage. 
 Our house has suffer'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 Holyrood is preserved by Lord Fountainhall : — 
 
 "May 29, 168 1, having fallen on a Sunday, the Magistrates of Edinburgh kepit the 
 solemnity on Monday the 30th, 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, 
 
 1 715 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 Stratagetn ; with an addi- 
 tional farce at the end of it, called the Stage Coach; and several enter- 
 tainments of singing and dancing by gendemen 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 171 5, 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 17 14, during 
 
 * This advertisement (quoted from the Coiirant) 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. + 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 ! ' 
 Tl^us 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, 
 
o 
 
 6 The Annals of the Edinburi^h 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 
 few — with 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 £bo per month, or £•] or ^8 each playing 
 night ; ^lo or ^i i being the highest, and £\ or ^5 the lowest drawing 
 each evening. 
 
 * Some Hints in defence of Dramatic Entertainments, by Allan Ramsay, 1727. 
 
Tlie 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 £,\?> 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 ;^5 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 ;^2oo 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 ;^io 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 14th, 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 — isdy, 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 jaut any such house 
 
 t Legal paper in Mr J. Cameron's collection. 
 
38 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 
 1 727, and that verbal licences from former magistrates could not bind their 
 successors ; andly, 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 innocent 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 Astcn 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, 1 763. 
 
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 biaus 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. 
 
 + This is probably what is referred to in " Mist's Journal." Sec former note. 
 
40 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 tt-pon 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 1 728, appears from the following curious para- 
 graph in the Caledonian Mercury of April 15th 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 1 715 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 afifiixed 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 1 7 1 9, 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 17 19.* 
 
 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 I " 
 
 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 20th (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 ScapinP 
 
 In 1727, Aurenge-Zebe and the Driimmer 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. 
 I-earning'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 LesF 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 Cotirant, 22d-24th October 1728. 
 
fc 
 
 The Annals of the Edinburgh Stage. 43 
 
 I 
 
 Another performance is recorded on August 17th, 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 17th, 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 17th, 1728, as noted above ; although, 
 how they contrived to escape the fate of Aston, and play until 1732, it is 
 difificult to conceive. In 1733, they again appeared, and were evidently 
 well known, and welcomed to the town. 
 
 The Caledoniajt Mercury {ox June 4th, 1733, contains the following : — 
 " We are assured, that the Edinburgh Compajiy 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 
 13th, 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 12th, we read : t — "The Edinburgh Com- 
 pany of Players having lately acted several of Shakespear's plays, 
 such as Othello, Hamlet, Henry IV., the Humours of Falstaff, &c., 
 with great applause; we hear, they are to act to-morrow, the 13th, 
 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, — 
 "T\\& Edinburgh Company of Comy-Viia.^?, 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- 
 
 Caledotiian Mercury, July ilth, 1 732. + Ibid. 
 
44 The Annals of the Edinburgli, 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 27th. — " 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 Htisband ; to which will be 
 added, the entertaining ballad-opera. The 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 oi 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 nth inst. (February), will be acted, 
 The 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 20th 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 
 Meratry of the 13th of that month we find : — " Early this morning the 
 Edinburgh Cotnpany t?/" Comedians set out hence for Dundee, Montrose, 
 Aberdeen, &c., in order to entertain the gendemen 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 Edinbtirgh Company of 
 Players have been well received there, and acted frequently, to the entire 
 satisfaction of the gendemen 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 of 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 constandy 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 iith 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 triclid, with all the scenes, &c." 
 
 " N.B. — By reason of the extraordinary charge the Company is at, on 
 
46 The Annals of the Edinburgli 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. 9th. ■ — 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- 
 onhot07ithologos." 
 
 " Jany. 15th. — 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 Fourth." 
 
 "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. 31st. — 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 (19th) the Tender Husband -asiA 
 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 Co7npany ^/Comedians." At the 
 Taylor's Hall on Monday, 22nd Dec, The Drummer and a. new Panto- 
 mime Entertainment, called, the Httssar 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. 9th, 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. 1 736) 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 
 30s. 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 axid the Virgin C/«W(2.y>^'fl^ were played. Unhappily the casts 
 have not been preserved. 
 
48 The Annals of the Edinburgh Stage. 
 
 In the Mercury of November 15th, 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 samjile 
 
 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 17th, 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 CuUoden, 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 Gentlemmi's Magazine, l-jy], p. 507. 
 
 P 
 
50 The Annals of the Edinbu7'gh 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 biylhsome 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. 
 
 \\'herefore, 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 jjost. 
 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 oudaws, 
 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 9th, 1739, one John Morison, 
 the Caledonian Merairy 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 personce 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 tJie 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 21st, 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 1 3th, 1 742, 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, 
 SJie wotid and she woicd 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. + See Fiagmenla Scoto-Dramatica. J 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 31st January 1743, the 
 Mourning Bride and the Toy Shop being given gratis. Mr Lyon followed 
 on February 9th, with Provoked Husband and the Devil to pay for his 
 benefit, 
 
 Feby. 21st, 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, 1744, 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 17th 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 ; 
 Jaffier= Hughes; Pierre = Lyon; Belvidera= Mrs Hamilton; withdancing 
 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. 
 + Caledonian Mercury, February 7th, 1745. 
 
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 13th, 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 Cotiple, or A Trip to the Jubilee, &c., with Harleqtiin 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. 
 
 b 
 
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 
 I 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 infor- 
 
6o The Annals of t lie 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 1 747, 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. Drummond, an opera, called T lie Happy Lovers ; or, the 
 Beau Metamorplios d, by Henry Ward, comedian ; and in the same year, 
 the Petticoat- Plotter ; or. More zvays 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 1 745. 
 
 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 jjublisher. 
 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 Glover, Esq., S.S.C., for his kindness in ransacking these musty documents for nie. 
 
1 747-] T^f^^ Annals of the Edinburgh Stage. 6i 
 
 of the Customs ; Prin. '\\'ishart, 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 for a 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 iX 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 (gi'atis) the true 
 and ancient History of King Lear and his Three Daughters, 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 d'ye call it. Thomas Filbert by Mr Lacey ; Jonas Dock by 
 Mr Philips." 
 
 * This statement is made on the authority of Arnot. + J'^ny- '749- 
 
 I 
 
 r 
 
62 
 
 The Annals of the Edinburgh Stage. 
 
 [i749. 
 
 "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 13th, Venice Preserved^ 
 Jaffier = Lacey ; Pierre = Davies ; Belvidera = Mrs Hamilton." 
 
 "On February 15th, for the benefit of Mr Philips, Hamlet. At thai 
 particular desire of several Gentlemen and Ladies, the Scene of Hamlet's] 
 Instructions to the Players will be restor'd. Hamlet= Lacey ; Ghosts 
 Davies ; Ophelia=Mrs Hamilton ; Gravedigger=Philips ; with a new] 
 Epilogue written by Somebody and spoke by Nobody. To which willj 
 be added a Farce, called Miss in Her Teens." 
 
 On February 22nd, Mrs Crofts took her benefit and played Miss! 
 Jenny in The Provoked Husband. 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 KingK 
 Henry IV. "By desire of several Gentlemen and Ladies a scene of I 
 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-j 
 ton; Prince of Wales = Davies ; Douglas = W. Hamilton; Bardolph ^ 
 Waldegrave ; Francis = Berry ; Sir John FalstafTf=Philips ; Lady Piercy] 
 = Mrs Crofts ; Hostess = Mrs Davenport. 
 
 " To which will be added (gratis) a Pantomime Entertainment, inj 
 grotesque characters, called, Pigmalion ; or, Cobimbine Restor'd : with the! 
 tricks and escapes of Harlequin. Harlequin=Crofts ; ist, 2nd, 3rd, andl 
 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\ 
 Consciozis Lovers, and on the 14th Mdlle. D'efrene*had Richard the Third. 
 
 * This variation in the spelling is copied exactly as printed in the announcements. 
 
1 749.] 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 31st, 
 Tancred and Sigisviunda (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, Aisop in the Shades, by Mr Garrick. 
 yEsop = 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; Iago=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 Merctiry, dated 
 April 19th, as follows : — 
 
 * Caledonian Mercury. 
 
64 The Annals of the Edinburgh Stage. [i749- 
 
 " 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 17th), 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 ]oy, particularly the Ladies^ to be entertain'd with \.Y\t prettiest representation of the Afan 
 0/ Hofiour, according to Garrick's taste, perform'd by a select number oi 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, damn' d the Jidlers, 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 yfrtj//^ 
 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 audif 
 ence. The officers by this time, through mortification and alcoholic passioni] 
 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 th^ 
 inhabitants of that lofty region. The celestials, ever gifted with superio^ 
 wit, chose to sport their oak rather than fight an unequal contest againsi 
 drunken soldiers and naked blades. Accordingly they tore up forms anc 
 barricaded their door securely against the intruders, who had scarcely 
 mounted the stairs when they found themselves attacked in the rear by the 
 
1 749-50.] 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 yf2iS 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 17th 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 £\, los., and gallery at i8s., to 
 be had at the Exchange Coffee House." 
 
 On the 2 1 St, in addition to the Beaux Stratagein, 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 1 7th February 1 750, Richard HI. 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 14th, 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 tJie Edinhirgh Stage. [i750- 
 
 between the two ladies, but on what score does not plainly appear. Some 
 time after (April 30th), Mrs Hamilton wrote to the editor disclaiming all 
 participation in and knowledge of the dispute.* 
 
 By an advertisement on June 14th, we learn that a garden, after the 
 manner of Ranelagh, was opened at Lauriston — Lauriston Gardens. It 
 was opened on the 12th with a public breakfasting, and on the 15th 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 i s. 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 30th. 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, Signor Pasquali, and Mr and Mrs Lampe. 
 According to Victor, \ 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. t Genest, vol. n. 322. 
 
 X Hist, of the Theatres of London and Dublin, § Genest, vol. x. 368, 
 
1750.] The Annals of the Edinduroh 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, tide, 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 jDart 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 29th, 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 15th, 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 i?(?;w(7««(/ya//V// Merchant of Venice ; Tempest, b^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. [1750. 
 
 In the Caledonian Mercury 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 oi 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 30th. 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 lago by Kennedy, and 
 Desdemona, by Mrs Davies. 
 
 December jih, Jane Shore, with Mrs Hamilton in the title-role, with 
 a pantomime entertainment, called Merlin, or The British Enchanter. 
 
 On December 12th, The Devil to Pay, the part of Sir John Loverule 
 bv Mr Corry, being his first appearance in Edinburgh, in which character 
 will be introduced the Early Horn. On the 14th, Davies appeared as 
 
1750-1.] The Annals of the Edinburgh Stage. 69 
 
 Richard III. for the first time, and the play was repeated on the 21st, 
 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 vizs, 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 settHng 
 down as manager of the Canongate Playhouse. According to 
 his own account* he had been requested to do this, and had been 
 promised the patronage and friendship of a number of gentlemen of in- 
 Huence, 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. 
 ^100 with interest, payable at Whitsuntide 1753. 
 ^200 „ „ „ 1754. 
 
 /145 .. ., ,. 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 Ureach of Trust, &c., 1772." 
 + Both Arnot and Jackson give utterly wrong versions of the amount to be paid. 
 
1 752-] 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 14th, as the Bastard 
 in Ki7tg 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 14th), 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 Ftcneral, and on March ist (1750) Romeo to Miss Bellamy's Juliet. 
 He appeared at Ouin'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 HL 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 Gencst. t Genest, vol. iv. 
 
72 The Annals of the Edinbtirgh Stage. \\']^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 empJiasis 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, Newcasde, 
 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. 
 
I 
 
 ^t 1752-3.] The Annals of the Edttiburgh Stage. 73 
 
 ^r of the pitiless storm, the thunder-god's foot slipped, and down he came, 
 
 K barrow, shot, and all. The balls running down the declivity of the stage 
 
 B knocked the scene on top of poor Lear, and continued their career into the 
 
 f 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 &^^ 
 
 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, 1 752, 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 Shepherd ^zs 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, Harlequm 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 Cowra«!/ of Tuesday, January 30th, 1753, is "assured that the new 
 whimsical F'arce called the Enraged Musician, or The Tempest Rehearsed, 
 
 * CouranI, 25th June. 
 
74 Tlie Annals of the Edindurgh Stage. [1753-4. 
 
 lately wrote by Signor 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 Signor 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 12th (1754), on which date the 
 Courant prints the following ; — " We hear that the comedy oi Mtick 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 Jidiet. 
 
 " At the New Concert Hall in the Canongate, next week will be pre- 
 sented gratis a new Tragedy never acted before, called Her^ninius 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, Herniinius 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 H'id. 
 
i753"4-] "^^^^ 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 20th, 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 7/(9^ 
 in the Well, and singing by Mr Sheriff and Miss Hamilton." 
 
 For Monday, 1 5th 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 .1^500. 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. 
 
76 The Annals of the Edinburgh Stage. [i 754-5- 
 
 The Hon. Andrew Pringleof Alemoor, SenatoroftheCol. 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 ;^5oo, 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 ;^5oo 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 fiU'd the front rows thereof, yet (by nominally pre-engag- 
 ing the whole) excluded others from coming to the jDlay '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-] '^^'^^ Annals of the Edinburgh Stage. jy 
 
 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 
 direction ;§ 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, 
 
 + It is worthy of note, too, that nothing but full price was taken throughout the season. 
 
 X Memoirs, vol. ii. p. 58. 
 
 § Victor and Sowdon, who had hired the Theatre from Sheridan. 
 
78 The Annals of the EdinburgJi Stage. ['754-5.' 
 
 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 1st 1755. — The Constant Coiiple. 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. — Ahich Ado, 
 with grand masquerade scene. January 13th. — King Lear. January 
 15th. — 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. F"ebruary 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. 
 
1 755-6.] The Annals of tJie 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 Stratagcfn; 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 21st. — 
 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 Diction.ary. 
 
8o The Annals of the EdinburgJi 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 £^ 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 2 1st, 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 p7tt 
 off\S!^ 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. 
 
'755-6-] The Annals of the Edinburgh Stage. 8l 
 
 dan had never seen Lee act, but offered him ;i^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 1 724, 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 tJie Edinburgh Stage. [ 1/55-6. 
 
 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 27th 
 1 749. Venice Preserved. Pierre = Sheridan ; Renault = Cibber, 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, Julius 
 Ccesar ; Castalio, The Orphan; Wd^strngs, 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 ; k 
 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 he 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. t 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, 30th. — 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 ta.stes ! 
 
 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 1 756-7 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'75^"7- 
 
 prietor, so that ladles 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 14th." 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 
 
 * 'J'lie Catidonian Mercury conlains identical information, word for word. 
 
86 The Annals of the Edinburgh Stage. ['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 1 7 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 fiirst 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. 
 
I 
 
 1756.] The Annals of tJie 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 pedantlcal 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 our 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 
 o{ 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. [1756. 
 
 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 Z?<7«^/aj-, 
 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. 
 
1756.] The 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 Dotiglas 
 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 tende;- 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."^ 
 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 Iliiil. 
 
 X Page 311, Carlyle's "Autobiography." 
 
90 The Annals of the EdinburgJi Stage. L^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 thai 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. \\'hen 
 Young Douglas first appears as a peasant's son, his native spirit struggling under the di.sadvan- 
 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,' (S: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.] Tlie Annals of the Edinburgli 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 14th, 
 Thursday i6th, Friday 17th, 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 20th and 21st (a most unlikely thing), would be but seven nights ! 
 It was not again played in Edinburgh till February 9th 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 Douglas 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." 
 
 * Couratit, l6th December. t Ibid. 
 
92 The Annals of tlie Edinburgh Stage. ['/S^. 
 
 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. 
 

 i 
 
 (ye>tu),a^/u<n//aone^^4^ .^^ili/m. 
 
 ^ctm'.Jc.i. 
 
 Tiikliih'd byJJlkmfinlKav j;;8. 
 

 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 
 Te77ipcst 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- 
 
 * Coitrant, Deceml^er l8th 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 30th, 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 9th and 14th, 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 22nd 1 757. 
 
 Douglas was advertised, "by desire of several Ladies of quality," fori 
 March 15th, 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 16th) 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 
 20th of that month. * During these nine months a very long list of plays 
 
 * See Fragmenta Scoto Dramatica, taken from original playbills. 
 
1 757-8-] 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 
 Bride, Ha^nlet, Merchant of Venice, Othello, The Beggars Opera, The 
 Rehearsal, Romeo and Juliet, Henry IV., Tivelfth Night, and The 
 Provok'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 
 IVife. This lady played old women roles, such as Mrs Peacham and the 
 Nurse in Romeo and Jtiliet. 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 
 VHL, 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. 
 
 [1757-8. 
 
 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 9th, Every Man in his Humour 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 oi Agis, which had 
 been written previously to Douglas, was performed by Garrick, in Drury 
 Lane, during this season (February 21st), 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 14th. 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, 
 iith, i6th, and 20th — 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 
 
1 757-8-] Tlie 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 (20th) an assurance is given that " the house will be rendered 
 extremely cool 1 " 
 
 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 co\A<X 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 
 
98 The Annals of the Edinburgh Stage. [ 1/57-8. 
 
 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 maHce 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 ajDpealed 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, stated that £'], 9s. 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, 15s., made up as follows : — 
 
 To Mr Reoch, per bill, - - - - £,\ w d 
 
 Do., for 8 nights at 4s. 6d.,* ■ - 1160 
 
 Thomson, per bill, - - - i 15 o 
 
 Do., for 8 nights at 5s., - -200 
 
 Smeitton, 8 nights in 1756 at 3s., - - 140 
 
 Do., 9 nights at zs., - - -0180 
 
 Napier, 10 nights at 3s., - - - i 10 o 
 
 Kercher, 9 nights at 4s., - - - i 16 o 
 
 Do., per bill, - - - -160 
 
 Do., in part of a bill then due to him 
 
 and others of the band, - 140 
 
 „ Mrs Fisher and Robison in part of do., - o 12 o 
 
 ,, Mr Marine, 8 nights at 5s., - - -200 
 
 „ ,, Do., in part of a bill then due to him 
 
 and others of the band, - 0100 
 
 „ ,, Stewart, 8 nights at 4s. 6d., - - i 16 o 
 
 ,, „ Do., in part of a bill, &c., - - i 1 1 6 
 
 ,, ,, Do., for music books, - - -080 
 
 „ ,, Muggersland, 9 nights at 2s., - - o 18 o 
 
 One night due the whole band last season, - i 1 1 o 
 
 £2^ 7 o 
 Deduce paid Mr Kercher, 3s. 6d., - 036 
 
 ^24 3 6 
 And add for three hands who attended at an enter- 
 tainmentin Mr Thomson's, vintner, in the Abbey 
 by Mr Digges to the rest of the Comedians, - i 1 1 6 
 
 ;^25 IS o 
 
 * These were evidently extra playing nights. 
 
1758-] The Annals of the Edinbtirgh 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 1 753, 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." 
 
 + " Letters which passed between Mr West Digges, comedian, and Mrs Sarah Ward. Edinburgh, 1833." 
 
too The Annals of the Edinburgh Stage. [i/S^- 
 
 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' cruelty, 
 but it was certainly an important factor.t 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 .;^ii, 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 12th, Edinburgh Decem- 
 ber 1 2th, and Glasgow 12th 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. § Ihid., p. 93. 
 
175^-] The Annals of the Edinburgh Stage. loi 
 
 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 Newcasde, 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 apparendy 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. 
 
102 The Annals of the EdinburgJi Stage. [i75^- 
 
 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 lave 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 Newcabtle. 
 + 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 WhXA.— Continued. 
 
 BEAT'S 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. 
 
•75S-9-1 The Annals of the Edinbtirgh 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 17th, 1759, is the following interesting announce- 
 ment: — "Last Thursday (March 15th) 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 Autlior." 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 Edinburgh 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 FalstafPs 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. 
 
 X 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 
 Scodand 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 su]5eriority 
 over me, even in money matters ; yet necessity has no law.' Garrick was accordingly 
 applied to next day for the loan of jQ'i^oo, 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. + P. 92. 
 
h 
 
 1759.] T/ie Annals of the Edinburgh Stage. 107 
 
 1: 
 
 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, 
 nd 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 Dotible Dealer, &c., and gave what in all probability 
 was the first morning performance of a play in Scotland. It was on Friday, 
 March 30th ; 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 I 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. 
 
 + The writer has been unable to find any trace of its having been published. 
 
 t "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 Edinbtirgh 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 f 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. . . .\ 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 Coiiranf, 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, " 3s. 6d.," with " paid," is appended in ink. 
 
 t 3rd December 1759. 
 
 X Part of this article is printed in a note, p. 105. 
 
1759-60.] The Annals of the 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 di-spute : — 
 
 " 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 20th, t llnd., Decenilier ist, 
 
no 
 
 The Annals of the Edinburgh Stage. 
 
 [1759-60. 
 
 Digges' first appearance this season was on December 15th, as 
 Hamlet. The Edinburgh Clironicle 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 19th The 
 Recrtdtitig 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 Edinbtirgh 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 oi 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 gendemen had hitherto been admitted free, and the insolent 
 
 * It had been brought out in London the preceding autumn. 
 
1 760-1.] The Annals of the Edinburgh Stage. 11 1 
 
 behaviour of the men on this occasion hastened the aboHtlon 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 Cottrant : — "We are told that on Monday next (April 
 2 1 St, 1 760), 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 yearwe 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 
 Beloio Stairs as an afterpiece. On May 2nd, Mr Lee, by way of "fare- 
 well," read Milton's Paradise Lost, in the forenoon, at 2s. 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 clergymanJ 
 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 bes^ 
 not to say anything. His greatest weakness was self-conceit, whichJ 
 never small, grew with his years, till it finally ruined him by bringing hir 
 constantly into quarrels with everybody he came in contact with. 
 
 By his own statement,* he wished to make his debut in the part ol 
 young Norval. Mr Love, who was Beat's general manager, was afraid tc 
 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. 
 
1 76 1 -2.] The Annals of the Edinbtirgh 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 01 
 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 
 
 * J.ickson, History of Scottish Stage, p. 34. ■^ Ibid., p. 37. Xlbid., p. 37. 
 
 H 
 
Ii6 The Annals of the EdinhirgJi Stage. [176 1-2. 
 
 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 Sigisvmnda, when the following 
 Prologue was spoken by Mr Digges : — 
 
 A PROLOGUE. 
 Spoke .\t Edinburgh on Mrs Bellamy's first appe.'\rance 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, 
 
 Iiitent — 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 disajipointed 
 in the result. The Courant newspaper, which very rarely took 
 any notice of performances after they had taken 23lace — 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, + May 8th. 
 
 I 
 
1 76 1 -2.] The Annals of the 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 Provoked 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^o 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 Jtdiet,\ Jackson and Mrs Bellamy in the 
 title roles, Mercutio = Mr Griffiths, and Friar = Mr Love; ?in6. Macbeth, 
 with Digges as Macbeth, Mrs Bellamy as Lady Macbeth, Macduff= Mr 
 Aickin. Jackson, in his History, records the following curious incidentwhich 
 occurred during the above performance oi 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 sj^eech, 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 
 
 • Cowant. t ifaV I2th. % May 13th. 
 
li8 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 22 nd, 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. 
 
1/62.] The Annals of the Edinburgh Stage. 119 
 
 this we readily consented, as the inhabitants were pot 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. 
 
 [t seems that the repeater had been bought by Digges but never paid 
 for, and as the girl unluckily went to the rriaker 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. 
 
I20 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, 
 ;^9oo, 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 deaths 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 Want ley, 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, 2Sth August 1762. + During the Spring it had Ijeen " 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 The Annals of the EdinburgJi 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 apjjlause 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 15th 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 Ctf«r««/ of January 15th, 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 Tlie 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. f Courant. 
 
1762-3.] The Annals of the EdinburgJi, 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 
 ])aint 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^^y, 7s. ; 
 for the wings, ;!^i, 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 this 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 JQ22. 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 £(>o, this charge was quite as high in jiroportion as any of the 
 London theatres at the time. 
 
124 The Annals of the Edinburgh Stage. [1762- 
 
 o- 
 
 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 .1^65 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 9th, and again 
 on July 20th. 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 17th, 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 1 749. 
 On June 14th 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 
 jirevailed 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, 21st 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 ^ giw^s 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." 
 
 * Coiirant, June iSth. + 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 1st, by the Earl of Kelly ; the 2nd, by Jommelli ; the 3rd, by Mr 
 Abel. On July nth, Fracollo ; and July 20th, L' Uccellatricd, or the 
 Female Bird Catcher, by Signior Jumelli.* And on the 30th 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 20th, 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 19th i763,t 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. She's Not Him 
 and He Is Not Her, was produced on February 6th, and on the i ith the 
 Careless Husband, with the following cast : — Lady Betty = Mrs Bellamy ; 
 
 * So spelt in the .idvertisement, t Courant, 
 
I763-4-] Th^ 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 : — \ 
 
 * Fitz Gerald's statement, that Wilkinson's books are a "mass of truth, blunder, and falsehoods," 
 nolhwithstanding. 
 
 + He also rented the Edinburgh Theatre ; see anon. 
 I 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 ; /uliet=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 Glive 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 j'on simpering lady, she who starts at 
 Pleasure's name, and thinks her ear prophaned with 
 The least wanton word ; wou'd you beUeve 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 
 13th, 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 20th. 
 
 Mrs Bellamy took a benefit on March 12th, 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 14th, vf\\&n King Lear vfa.s 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 30th, 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 HI. (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 22ncl 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 19th 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 19th, 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. 
 
 t " 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 
 
 * Cotirant. t Memoirs, vol. iii. p. 258. 
 
 i 
 
] 764-5-] The 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 \j^ Richard 
 HI. was acted,! 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 playacted, 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 \Vheeler'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 
 Rictiard 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. I l8th February. 
 
134 The 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 tlian 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 21st,* when Rival Qtieens 
 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 13th, when there was played, in addition to 
 Coriolanus, a new burlesque tragedy of two acts (never acted before), 
 called the Death of BuccpJialus, being a parody " written by a person of 
 fashion," the performances "to conclude with a funeral procession, ac- 
 companied by a solemn dirge."| 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 Gat'ratt, 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. 5. 
 
 ■;■ 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. 
 § Cowan'. 
 
1765-6.] The Annals of the Edinbzirgh 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 iiow 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 
 
 * Nol quite Jackson's opinion, but more lil<ely lo be near Ihe Irulli. 
 
 t This is very interesting when read in connection with what follows next season 
 
 \ 
 
136 The Annals of ihe 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."* 
 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 17th, 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 s.ay 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. 
 
 i 
 
1 765-6. J The Annals of tJie 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 21st, 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 iith 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 17th, 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 20th, 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 Hamillon, undoubtedly. t History of Scottish Stage, p. 59 and on. 
 
 \ 
 
1/66-7.] ^'^^ 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 f 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 compHance 
 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. 
 
 + A remark evidently prompted l)y jealousy, as Stayley had been a number of years on the stage, longer 
 in fact tlian Jaclison. 
 
 t Ilistory of Scottish Stage, p. 61, &c. 
 
140 The Annals of tlie Edinbut-gh 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, yizwafl;^ 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 Afr 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 t/teatre 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. 
 
 U. 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 abundandy 
 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 Juliet's 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 Ro/neo took a second flight ! 
 
 * The play that night was Roimo and Juliet, 
 
142 The Annals of the Edinburgh Stage. [1766-7. 
 
 The frighted Fryar left his cross and ran ! 
 
 And dead Afercutio 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 2. 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. 
 
 OviX foils gave way before Toledo steel. 
 
 And real rage made mimic anger reel. 
 
 ^Vhile 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 Banquo's 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. \ 
 
 While io\a& 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 I 
 
 Our fine large glass ! where many a King and Quee?i 
 
 Have view'd thtn figures and majestic mien ; 
 
 Where I myself 'Wsse. ogled heretofore. 
 
 And seen such sights as I shall see no more I 
 
 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 interr'd beneath an unhing'd door. 
 
 • Stayley in a note says, " Bad grammar, but Poclica licentia." 
 
 t The large trap in the middle of the stage gave way with several gentlemen, who, cutting the rope which 
 supported it, went to the bottom. 
 
 X A large bell which hung behind the scenes. 
 
1766-7.] 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 raore 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 Edinbtirgh 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, orhewouldhave perceived that even if hisapplication 
 
 * See Pamphlet entitled " Nil Mortalibus Arduum," 1767. t March 2nd, Suspicious Husband. 
 
1766-7.] The Annals 0/ 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 30th, 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 i^roprietors, 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 gendemen 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. i2lh, 
 
 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 ivhat. 
 The what explained we see, 
 To name the who might prove as pat, 
 For what's the it'ho 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 9th, 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 Aftnals of ike 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 30th 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 Ro\sl WZC to I85S 
 
 <7/a /!>^ 7% e a/n^-'^ya. I . Tii^c^t t^ Z'^^Cv^^A.^ 
 
 Prtur to 1830 
 
CHAPTER XI. 
 
 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 1767, 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,ooo, in addition to which the late proprietors were to receive ;^i,ioo 
 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, who were among the original proprietors. In all, 
 
 * History of Scottish Stage, p. 73. 
 
 + 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 ;^loo 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. 
 
^5- The Annals of the Edinburgh Stage. [1769-70. 
 
 close uiDon ^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, 1769, 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 1 1 th, 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 1 770, 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 ;fl6oo. This sum Ross 
 bought off by grantinp an annuity oi £100 a year to Bland, and giving him a benefit every year during the 
 month of February {ox £2t, 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. 
 
 % See ante, p. 148. 
 
 § They were now, pit and boxes, 3s. ; gallery, 2s. ; upper gallery, Is. ; at which rates it held about C^tfi. 
 
 li 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." 
 
17/0-1.] The Annals of the Edinburgli 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 J[,ioo a week to his company while in Edinburgh. 
 t Genest says November loth. 
 
 * It is related by Chambers, who gives the date of this adventure 1774S (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. [i 770-1. 
 
 There a certain Mr M'CuIIoch 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 ;^ 1 40; 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. 
 
1 7/0-1.] The 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- 
 l)ality. 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 
 19th, 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 Edinburgh Stage. [i 770-1. 
 
 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 ijji, 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 ; L2etitia= Mrs Baker. 
 
 On February 14th, Mrs Jewell made her first appearance here as 
 Polly in Xho. 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 
 175I1"'' 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 ? " | 
 
 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 4d., and went through two editions before the year was out. 
 
 t 29th November. 
 
 X Davies' Miscellanies, vol. ii. 68-9. 
 
1 771-2.] 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 19th), 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 13th), with Jackson 
 as Macbeth; Macduff = 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 ;f 120 in the house, which although full had almost no ladies among the 
 audience, the time of year Ijeing too soon for their public appearance ! 
 
158 The Annals of the Edinburgh Stage. [i 771-2. 
 
 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." J 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. Doziglas 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 I ago, being 
 
 See Life of Reynolds, by Leslie. | Letters of Candidus, 1802. J Courant, January 1st, 1772. 
 
^77^-3-'\ ^/^^ 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 31st 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 batde of Dettingen, and had been made 
 a prisoner of war at Fontenoy. Not content with that, he served under 
 General Honeywood 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 1 761 or 1 762, 
 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. 
 I The famous Mrs Jordan was Bland's niece, and Wm, Glover of Glasgow was a descendant of his. 
 
i6o The Annals of (he Edinburgh Stage. [1772-3. 
 
 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 ^[oo each, and bind themselves to 
 pay ;^ioo 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 Wesi 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 loth, 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 .1^700 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. 
 
1 772-3-] The Annals of the Edinburgh Stage. i6i 
 
 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 19th, 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 h;jlf 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 5s. all over the house, by ticket only. 
 
 Considerable stir was caused by the announcement that a new play 
 entitled The Prince of Trmis, 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," 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 
 
i62 The Annals of the Edinburgh Stage. \M1o- 
 
 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, TJie Prmce of Ttmis 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 
 19th, 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 jjroduction, said, — 
 
 * The " Debating Society," at a meeting on March 19th, decided that the Prince of Tunis was equal to 
 most of the modern tragedies lately performed or printed in Britain. 
 
i773"4-] '^^^^ Annals of the Edinburgh Stage. i6 
 
 o 
 
 " 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 13th, 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 17th, but 
 unfortunately, if he went, Boswell's prophetic instinct as to what would 
 interest posterity was for once at fault. 
 
 On November 29th, Venice Preserz'ed. — Pierre = Digges ; Jafifier = 
 Inchbald ; Renault = Woods ; Elliot = Moss; Belvidera= Mrs Inchbald. 
 On December 1st, King Lear. — Lear= Digges ; Bastard = Woods ; Kent 
 = Webb ; Albany = Inchbald ; Cordelia = Mrs Inchbald. December 9th, 
 //a»«/d'/.— 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 Bankrtipt, 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 19th, with a small share of success ;;]: 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, ^^ opening date of which is 
 uncertain, almost nothing falls to be recorded, excepting the appearance of 
 Mr Dutton on January 14th, and subsequent evenings, in such parts 
 
 * November 9th. t He left on the 22nd. * 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 gendeman 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 ;^4oo 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 Vau.Nhall 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. 
 
 + 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. 
 
'774-5-] ^'^^^ 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 3s. (pit and boxes) it is capable of containing about 
 ^130. The pit seems considered here as 'Ca^ 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 ^// /« 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 15th, 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. [i 775-6. 
 
 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, vi'iih. Jane 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 Patrias, 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, X 
 will deliver a lecture on the Scottish Language." 
 
 * Coiirant, December 2Sth. J Prompter at the theatre. 
 
 + She lived at this time in Mint Close. 
 
i/zS"*^-] '^^'■^ Annals of the Edinburgh Stage. 167 
 
 Some time during the autumn of 1775, was published a very curious 
 pamphlet, entided 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 t 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 \\€% Jaffier, Henry, or Othello, 
 To-morrow Quixoiie, 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. t 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 The 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 20th, 
 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 1 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 ;^I45, 15s., a larger sum than had ever 
 been drawn upon similar occasions. — Weekly Magazine, Ap. 1776, p. 160. 
 
^ll^-J-l The Antials of the Edmb^irgh 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 
 
 i^ii3 
 
 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 bonortitn 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 2SvA 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 21st, 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 12th 1777, but unfortunately the cast has not been preserved, 
 and the season closed on April 19th. 
 
 The race week this year brought along with it the fascinating Mrs 
 
 * According to Lee Lewes, who is likely to be correct in this maUer. 
 
^777-^-1 The Annals of the Edinburgh Stage. 1 71 
 
 Abington (July 19th to 31st), 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, 
 1 777-8 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 EditihirglL Stage. \\'] ']']-'&. 
 
 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 mascuhne. 
 
 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 hne 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 Wofifington, 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-] ^/^^ 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 18 7 
 ,, towards Actors' Arrears, - - 78 15 3 
 
 „ to Current Rent, - - - 134 11 4 
 
 1918 s 2 
 
 Balance in hand for Rent, jC^^o 
 
 Due to Actors, - - £,^() 4 5 ■^"■"™° 
 
 „ Music, - - 31 12 6 
 
 „ Servants, - 31 7 7 
 ,, Rent, exclusive of 
 what lies over 
 
 for the races, 174 16 10 
 
 £?,7,1 
 
 " 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 14th, 1778-9, with As You Like It and 
 Camus — 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. [1778-9. 
 
 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 12th, 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 pt-os 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 ;£'333o. His own demanded balance is jQt2o, 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. 
 
• 1778-9'] The Annals of the Edinburgh Stage. 175 
 
 " y\Aj9. — Mr Ross brought but ;^4oo 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 12th. 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 13th, 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 Bland's most ranc'rous spirit, 
 Who 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 Corri'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 Corri's failure to pay her salary. This 
 Corri denied, and closed his doors for the season — his first and last — 
 on May 15th. 
 
 A short summer season, opening on July 14th, followed ; Miss 
 Younge, of Drury Lane, appearing as the particular attraction. There 
 
 • The admission to this was 10/6. 
 
1/6 The Annals of the EdinburgJi 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 xho. Jealotis 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 12th, 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 Patentie. t Courant. 
 
1780.] The Annals of the Edinburgh Stage. I77 
 
 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 Covent 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 Lumpkin s 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 litde 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. [i 780-1 
 
 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 
 fruf;ality 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. ' 3s.' I said, as I turned them over in my hand, ' why what a multitude of 
 things may be done with 3s. For 3s. 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 3s. ; — for 
 3s. 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 3s. ;— 
 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 12th, 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 
 
 "My Dear Sir, "Sunday Night, 20th 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 Beggars' 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 oiRodo, 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. 
 
 I 
 
i8o The Annals of the Edinburgh Stage. [1781- 
 
 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 21st a benefit was given for the building of a new High 
 School in Edinburgh, andon April 9th the 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 30th 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 Allworth= 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. 8i. 
 
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 £1^0 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 : — 
 
 \"\ 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. + Memoirs, vol. iii. p. 82. J Hist. .Scot. Stage, p. 179. 
 
i82 The Annals of the Edinhirgh 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 draiving 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 inlaying Rosalind, 
 Miss Hardcastle, &c. 
 
 The Theatre Royal opened under the new management on December 
 1st, 1 78 1, 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 9th, 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. 
 
 * Couraiit, January 29th, 1782. 
 
 + 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. 1 13. 
 
1782-3.] The Annals of the Edinburgh Stage. 183 
 
 February 12th, 1782, Romeo and Juliet. — Romeo = Ward; Friar 
 Lawrence = Banks ; Capulet = Johnson ; Friar John = T. Banks; Peter = 
 HolHngsworth ; Starved Apothecary = Charteris ; Mercutio = HaUion ; 
 Nurse = Mrs Charteris ; JuHet = 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 1 780-1, 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 1st, 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 20th, 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 (13th), 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. Genestij: 
 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 12th, 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. 
 + 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. 
 J 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 7th, The Generous 
 Freemason. Concluding with an Epilogue in the character of a Free- 
 mason's wife, by Mrs Sparks. 
 
 On April 9th, 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 12th, 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 30th, 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 oi 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 ; Caspar = Davis ; Don 
 Carlos = Woods ; Donna Victoria = Mrs Wilmont Wells ; Donna Laura 
 = Mrs Woods ; Minette= Mrs SjDarks ; Donna Olivia = Miss Morris. 
 
 On the 24th, Rosina was given for the first time here. William = 
 Moss ; Captain Belville= Bell ; Belville = Tannett ; Phoebe = Mrs Sparks ; 
 Dorcas = Mrs Mountfort ; Rosina = Miss Morris. 
 
 February 2 yd, Merchant of Venice. Shylock = Collins ; Launcelot 
 = Moss ; Jessica (with songs) = Mrs Henderson ; Portia = Mrs W. Wells. 
 With the burletta Tom Thimh 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 jDrologue, 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 
 Good Matured Man on the 1 9th, 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 
 
 * Coiiiant. 
 
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 i^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, - - - £a^7 7 7 
 
 From the gendemen'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 EdinburgJi 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 /or/? hole than he got knocked on the head and tumbled down 
 ^€ 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 inhysterics, 
 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 jth, Jane Shore; June 9th, Grecian Datighter, for her bene- 
 fit ; June loth, Grecian Daughter ; June i tth, Euphrasia, for the benefit 
 of the charity workhouse. 
 
1783-4-] ^/^<^ 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' 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 12th, 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 
 
I go The Annals of the Edinburgh Stage. [1784. 
 
 the background. \^Tien 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 31st, 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 Coztrant, " 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 ; 
 10th, Richard HI. ; 14th, 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 Suspicious 
 Htisband. 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 Szispicious Husband, but it 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. 
 
 * Cotirant. 
 
192 The Annals of the Edmhurgh Stage, [1784-5. 
 
 She Stoops to Conquer was given on the 15th, with Everard as Tony 
 Lumpkin, and Miss Hardcastle by Mrs Bulkley, who had now apparently 
 recovered from the resuhs 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 decHned 
 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 21st, 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 Br aganza, 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 31st, Mrs Yates played Jane Shore. April 
 7th, 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 20th, 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 30th 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 12th, 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' 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 I2th, Grecian Daughter, ^95: 14th, Macbeth, ^125; i6th, Fair 
 Penitent, £12^; i8th, Isabella, ^154; 20th, Douglas, ^130; 23rd, Car- 
 melite, ^128 ; 25th, Venice Preserved, ^130; 26th, Carmelite, £%\ ; 27th, 
 Which is the Man, ^84 ; 28th, Isabella, £\2)9 ! 29th, Suspicious Husband, 
 (?) _;^i 5 ; 30th, Jane Shore, ^115. August ist. Earl of Warwick, ;^i 23 ; 
 2nd, Mourning Bride, £107; 3rd, Provoked Husband (benefit of Miss 
 Kemble), ^125 ; 6th, Gatnester (benefit of Mrs Siddons), ^200, exclusive 
 of Gold Tickets; 8th, Douglas (Benefit of Charity Workhouse), ;^i37 ; 
 9th, Earl of Warwick, £to, i6s. In all £207"], i6s. On the 12th, 
 Mrs Siddons appeared in Glasgow as Belvidera. 
 
 When the next winter season 1785-6 opened (January 14th 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 Edinburgh 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 
 Ehzabeth Steele (London, 1787), she died in July 1786. It is much more 
 likely, however, that her death occurred in the autumn of 1 785, 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 19th, 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 (19th), 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 Beatix Stratagem. Archer = Betterton, from 
 the Theatre Royal, Dublin, being his first appearance in this kingdom, 
 
 January 30th, 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. IHff 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 13th, when /ane 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 lliff ; 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 30th, Mrs Sparks made her first appearance here, acting 
 Mrs Oakly in The Jealous Wife. On April loth, Nicholson Stewart 
 played Richard HI. 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 19th, 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 adajDtation 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. 
 
 * Ccncst, vol. vi. p. 357. 
 
1785-6.] The 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 pow'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 20th 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 Courani. 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 14th, 
 
198 The Aimals of the Edinburgh Stage. [1786-7. 
 
 but put off). The play was Othello, in which Poise, 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," TJie 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 (19th), 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, Slie 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 3 ist) ; 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 13th 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 9th, 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 Harmless = 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.] The 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 Ilifif; 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. 
 
200 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 Caledo7iians 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 Golfing 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 19th 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 Ttie 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 19th 1788, when it re-opened with The Way 
 to Keep Him, and Peeping Tom. 
 
 January 30th, 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 19th, 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. 
 
202 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 14th, 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 Jafifier 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 !' 
 
 " Majiager — ' 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 days Fennell and Jackson both received numerous 
 anonymous letters, and on the 12th, 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 15th 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. 
 
 UjDon 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 1st 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 29th 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 21st, 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 
 
2o8 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 1788. 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 oi 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 tijnes ; 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 personce 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 
 14th with Mrs Jordan as Peggy in the Country Girl. 
 
 * Genest, vol. vi. p. 439. J Traditions of Edinburgh. 
 
 + 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 13th, 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 31st, 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 19th, 
 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 13th, Much Ado About Nothing. Benedick = King; 
 Claudio = Woods ; Don John = Hallion ; Dogberry = Moss ; Beatrice = 
 Mrs Esten ; Hero= Mrs Woods. 
 
 From March 19th to 28th, the company played in Glasgow, but on 
 the 29th 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 19th, 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 
 
2IO The Annals of the Edinburgh Stage. [i 790-1. 
 
 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 14th 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. 
 t This is quite wrong. See below, 
 

 €17H> 
 
1 790-1.] 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,ooo. 
 
 " 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 elhe 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 
 1 749, as Clerimont in the Miser. He was in Drury Lane from 175 1-2 
 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 1 770-1 as stated in the above narrative, but only to continue for 
 two seasons, not twelve. He acted again at Covent Garden in 1777-8. 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 20th, 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. ' [i79i- 
 
 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 Vdintomime., 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 12th, Merry Wives of Windsor, by desire of the Earl of Mor- 
 ton, Grand Master Mason. On March 19th, 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 
 19th, was set apart as a benefit for the Edinburgh Dispensary. 
 
 The summer season opened on June 20th with the Grecian Daughter. 
 July 9th, 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. Tide role by a young gendeman. 
 
 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 1790 ; 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 21st to August 21st," 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. 
 
I79I-] The Annals of the Edinburgh Stage. 213 
 
 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 : — \ 
 
 " 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 2nd 1 791). 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 ;^i35o. 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 ;^2oo less rent ! " 
 
 * History of Scottish Stage, p. 200. % Memoirs, vol. iii, p. 85. 
 
 + Mrs Esten's mother. 
 
214 The Annals of the Edinburgh Stage. [i79i- 
 
 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 1 78 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 ;^Si8o 5 o 
 The current expenses, .... 4454 i 5 
 
 Profit, 
 
 Nightly receipts of 1790, 
 
 Expenses, . . . . . 
 
 Loss, ... 
 
 "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 ;!^ioo 3 o 
 For rents, estimated at ;^6oo a year, music, servants, 
 
 lights, printing, advertisments, and incidents, - 60 5 o 
 
 ^726 
 
 3 
 
 7 
 
 i^S27S 
 5297 
 
 8 
 
 I 
 
 6 
 II 
 
 £^^ 
 
 '3 
 
 _S 
 
 ;^l60 8 o 
 
 Nightly expenses, at 3 nights a week, - - - ;^54 2 8 
 
 Do. do. 4 do. - - - 40 2 o 
 
 * "History of Scottish Stage," p. 182. 
 
1 79 1 -2.] The Annals of tlie 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 ;^Soo, paid 
 Roofing, repairs, and necessary alterations to the Theatre, 
 Annuities in consequence of purchase of the Theatre, 
 To proprietors, arrears of interest. 
 Painting of the theatres and scenery, 
 Machinery, canvas, timber, furniture, wardrobe, &c., 
 Money lost by advances to performers. 
 Fees and expenses of patent, 
 
 Shares of Theatre purchased, .... 
 Property on Leith Walk, ..... 
 The Glasgow property, more than 
 Paid for property, buildings, and arrears at Aberdeen, 
 
 200 
 
 
 
 
 
 500 
 
 
 
 
 
 2700 
 
 
 
 
 
 500 
 
 
 
 
 
 800 
 
 
 
 
 
 2000 
 
 
 
 
 
 SCO 
 
 
 
 
 
 300 
 
 
 
 
 
 340 
 
 
 
 
 
 105 
 
 
 
 
 
 3000 
 
 
 
 
 
 500 
 
 
 
 
 
 j^ii,99S 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 fiddle 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 19th, 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. [179 1-2. 
 
 remarks about him as an actor, however, are not so flattering. The same 
 notice mentions that the House was Hghted 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 iith, 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 = Marriot ; 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 Falstafif. March 3rd, O'Keeffe's Farce, Modern Antiques, 
 for the first time here ; and on the 8th, Next Door Neighbotirs, 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 12th 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 1 789. 
 
 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 1 798 they were with 
 T. C. Cross at the Royal Circus.* On April 21st, 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 12th ; on the 19th, 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 20th, 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 granddaughter. 
 
2i8 The Annals of the Edinburgh Stage. [1792-3. 
 
 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 zvho 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. 
 
I792-3-] ^''^ 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 WilHamson as manager. 
 
 On January 12th 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 21st, 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 £i'i2. 
 
 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 19th. 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. H., against Stephen 
 Kemble, and the new Theatre was shut up, to the great joy of Mrs Bennett 
 
2 20 The Annals of the Edinburgh Stage. [1792-3. 
 
 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 los. 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 £\o per night and a benefit, 
 but as his services for opera were only wanted on three occasions, 
 
 * Courant. 
 
1 792-3-] The Annals of the Edinburgh Stage. 221 
 
 during three weeks' time, Bowden became dissatisfied, and commenced a 
 process before the Sherifif. 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, 21th 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 ^5 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 15th, 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. [i793- 
 
 Charteris ; Nanny = Mrs Bland; Lady Rodolpha Lumbercourt = Mrs 
 Nunns. 
 
 Although " for that night only," it was repeated twice. 
 
 April 27th, 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 22 nd. 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 20th 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. 
 
J.R.itra^ i£. 
 
 (l/.t^/iAo'/^y QJ^^PPZA-/^ 
 
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 ^looo 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, \!h& 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 wa.s 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 apjDrentice, 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-] ^'^'^ Annals of the Edinburgh Stage. 225 
 
 affair of Saturday passed over without any worse consequences to the 
 LoyaHsts 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 14th 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 27th, A Fete Champetre was given in the Theatre, when the 
 pillars were hung with evergreens and sham flowers. Five hundred vari- 
 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 21st, 
 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 14th 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 Fz7/fl^^ 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. 
 
 P 
 
226 The Annals of the Edinburgh Stage. [i794- 
 
 Incledon only played for a few nights, and on Wednesday the 9th 
 Hamlet was given, with the chief jDart 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 Kenible 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 oi 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 
 14th as Lionel in Lionel and Clarissa, being his first appearance in Scot- 
 
 * His first appearance in London was 29U1 October 1797. 
 
 + Thespian Dictionary. The account given of Johnston in Stage Reminiscences by an Old Stager, is 
 absurdly wrong from beginning to end. 
 
1 794-5-] The Annals of the Edinburgh Stage. 227 
 
 land. Clarissa by Mrs Crouch, likewise her first appearance here ; for 
 her benefit, on July 21st, 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. [i795- ^ 
 
 On February 23rd, Mr Stordy, from the Theatre Royal, Dublin, 
 made his first appearance in Scodand. Johnston played Tancred in 
 Tancred and Sigismunda for the first time on March 14th, 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 14th 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 30th 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 is. per head. 
 
 The performance on May 30th closed the season. 
 
 A summer season opened on July 15th, 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 13th), Rock appearing as 
 Alderman Arable, Zorinski (February 22nd), Man of Ten Thousand 
 (February 20th), and Mysteries of the Castle. 
 
 An epilogue was written by Captain Topham for a performance of 
 The Way to Get Married on February 15th. On February 29th, Aickin 
 from Covent Garden, and manager of the Theatre Royal, Liverpool, 
 appeared as Beverley in The Gamester, and on March 21st took his 
 benefit, when John Palmer was announced to appear ; but having been 
 assaulted and his leg badly wounded, was unable to do so. 
 
1 796-7-] The Annals of the Edinburgh Stage. 229 
 
 A benefit was given on March 30th 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 30th 
 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 1 7th 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 caW&d 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. I n 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 42s. 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 15th 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 
 
1797-8.] The Annals of the Edinburgh Stage. 231 
 
 was given, between the pieces, of "The Cottar's Saturday Night" by 
 Miss Gough. 
 
 March 13th, 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 Covent 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 i ith 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 13th 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 
 quahties 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 
 ofiScer who announces that the banquet waits. 
 
 " So much for two of our new performers ' from the Theatre Royal, Drury I^ane ' ! ! ! 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 20th, 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. 
 
1/97-8.] The Annals of the Edinburgh Stage. 233 
 
 On the 31st January, Lee Lewes acted Falstaff in ^^ 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 21st a " new musical entertainment," entitled St Kilda 
 in Edinburgh, or News from Catnperdown, 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 apothecar)^" 
 
 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 cosdy 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 Edinbur):;h. 
 
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 30th, 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 31st 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 19th 1799, with the new 
 play of The 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 
 Bhce 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. 
 
1 799-] 
 
 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 Courattt contained the following 
 advertisement : — 
 
 "SANS SOUC I." 
 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. 
 
 Song, 
 
 Temple of Fame. 
 
 Recit., 
 
 Plymoi 
 
 th Dock and Nautical 
 
 Recit., 
 
 Dialects, 
 
 
 Anecdotes. 
 
 Song, 
 
 Strawberries. 
 
 Song, 
 
 . 
 
 The Anchorsmiths. 
 
 Recit., 
 
 The Rencounter. 
 
 Recit., 
 
 . 
 
 . Country Parties. 
 
 Song, 
 
 Nancy. 
 
 Song, 
 
 . 
 
 . The Tea Table. 
 
 Recit., 
 
 Curiosity and the Makers. 
 
 PART 
 
 2. 
 
 
 
 
 Cornwall. 
 
 
 
 Recit, 
 
 . Falmouth. 
 
 Song, 
 
 
 Advice. 
 
 Song, 
 
 . Yo, Heave Ho. 
 
 Recit., 
 
 
 . Travellers' Wit. 
 
 Recit., 
 
 Wigs. 
 
 Song, 
 
 
 . The Cornish Miners. 
 
 Song, 
 
 The Wig Gallery. 
 
 Recit., 
 
 
 Flattery. 
 
 Recit., 
 
 . The Drowning Sailor. 
 
 Song, 
 
 
 Lady's Diary. 
 
 Song, 
 
 Magnanimity. 
 
 Recit., 
 
 
 Tactics. 
 
 Recit., 
 
 . John and Providence. 
 
 PARI 
 
 Song, 
 ' 3- 
 
 
 Beauty's Banners. 
 
 
 North Devon and Somersetshire. 
 
 
 Song, 
 
 . Nelson and Warren. 
 
 Song, 
 
 
 . The Jew Pedlar. 
 
 Recit., 
 
 Two Beggars. 
 
 Recit., 
 
 
 Singers. 
 
 Song, 
 
 The Barrel Organ. 
 
 Song, 
 
 . Cupid turned Musicmaster. 
 
 Recit., 
 
 Compassion. 
 
 Recit., 
 
 
 News from Dorsetshire. 
 
 Song, 
 
 True Courage. 
 
 Song, 
 
 
 The Christening. 
 
 Recit., The ( 
 
 ;;ountry Man's Description 
 
 Recit., 
 
 
 . Recapitulation. 
 
 of I 
 
 _,ondon. 
 
 Song, 
 
 
 Finale. 
 
 *,* 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 3s. 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. 16 George Street ; Mr John Muir's, merchant, front of the Exchange ; Messrs Urbani & 
 
236 Tlie Annals of the Edinburgh Stage. [i799- 
 
 Liston'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. 
 
 E^ 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 sth 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 " (\%oi), 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 Calton 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 
 
1799-1800.] 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 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 d 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 Edinbtirgh 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 ^10,000 ; 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 Monthly 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 
 
i8oo.] The Annals of the Edinburgh Stage. 239 
 
 taste, his illegitimate bantlings and incongrous medleys, banished the idea of compassion, 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 Cottrant, 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 14th 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 30th 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 //«rtf 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 Fenne/h'sm, 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 ;(^300o), 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 27th 
 
 * Chambers says Jackson became ostensible purchaser for ;^So20. 
 t Brother of J. Aickin, formerly of Edinburgh. 
 t 'The Theatre, or Letters of Candidus, &c., 1802. 
 § Letters of Candidus. 
 
242 The Annals of the Edinburgh Stage. [1801-2. 
 
 1801 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 9th lago to Talbot's Othello, while on the 1 3th 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 21st 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 abovewas 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 
 
 1 803 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 buder,' whom Mr 
 Skene has described to us, by name John Macbeth, made sore complaints 
 
 * ]'. 235 of Life. 
 
i8o2.] The 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 19th 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 17714 ^^ 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 180 1-2 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 
 
 * Candidas. t Letters of Candidus 1802. + See ah/^, p. 158. § Letters of Candidus. 
 
1802-3.] "^^^^ Annals of the EdinburgJi 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 
 Httle 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 Burying-ground, where his grave is 
 marked by a headstone. 1 
 
 April 19th 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 13th, H. Johnston appeared as Hamlet, and on the 15th, 
 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 15th, 
 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. + Monthly Mirror. 
 
246 The Annals of the Edinburgh Stage. [1803- 
 
 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 £\^^, Mattocks ^52, 
 Crumpton ^^40, Grant p^Sg, Hallion ^78, Young^i 39, Mr and Mrs Lee ^^29, 
 Mr and Mrs Turpin i'i02, Mr Bell i'78. Miss Duncan / 185, Toms i"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 hoi)e 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 Cakeliouse (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 .jf 162, and the second £i^. 
 + Monthly Mirror. t In the collection of E. Rimbault Dibdin of Liverpool. 
 
i8o3-4-] 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 4s., 3s., 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 18 14. 
 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 14th, 
 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 12th or 13th,* 
 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 30th 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. 
 
i8o5 6.] The Annals of the Edinburgh Stage. 249 
 
 commencing on June 29th 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 27th, 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 iSth 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 andahalf, 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, £ic,o o o 
 
 t Dwyer, Suspicious Husband, 144 o o 
 
 M'Gregor, boxkeeper, Soldier's Daughter, 155 o o 
 
 Mr and Mrs Evatt, Cymbeline, 100 11 o 
 
 t Toms, Moutitaineers, 1 1 5 o o 
 
 Berry, Secrets Worth Kotowing, 100 9 o 
 
 t Mr and Mrs Mason, Provoked Husband, 79 o o 
 
 * Johnston resided at 9 St James Square. 
 
250 The Annals of the Edinburgh Slage. [1806-7. 
 
 MacGibbon, Clandestine Marriage, ^^i 9 o 
 
 Flowerdew, Battle of ITexhatn, 55 o o 
 
 Jones and Shaw, Fashionable Lover, 80 o o 
 
 Mrs Orger, Jleir 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 £\2, 
 extra expenses about ^3 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 15th (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 31st, 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 19th (1806) with 
 the Soldier s Daiighter, 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, Dotiglas. 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 
 IH. ; 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 27th, 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 Bartley. See page 242. 
 
2^2 
 
 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. 
 
 AA'e, 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 19th 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 29th, 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, Haymarket — 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 12th Benedick, with 
 Mrs Young as Beatrice. 
 
i8o8.] The Annals of the Edinburgh Stage. 253 
 
 The Theatre closed on the 21st, and the company went to Glasgow, 
 returning again and reopening on January 23rd, with TJie 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 13th, C)//!^//(9. Othello = Young ; Iago = Cooke; 
 Desdemona = Mrs Young. For his benefit Cooke played Joseph Surface in 
 School for Scandal on February 20th, 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 
 14th, 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 30th, when it re-opened 
 with The Btisydody 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 
 iithjt 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 20th, 
 The Rivals. Faulkland = Elliston ; Julia = Mrs Powell. August 22nd, The 
 Hotieymoon, 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 Corn's Rooms, and there gave a single-handed entertainment. 
 
 f 
 
2 54 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 pubHc. 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 
 I2th, 14th, i6th,and 19th, 1808. Among the artistes engaged were Madame 
 Catalani, Signors Siboni, Miarteni, and Spagniolette, and Madame 
 Miarteni. Mr Corri presided at the piano. The prices during this engage- 
 ment were — boxes, los. 6d. ; pit, 6s. ; first gallery, 5s. ; second gallery, 3s. 
 
 The dramatic season for 1808-9 began on November 26th with 
 Morton's Ciire 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 7th 
 another piece of the same kind, with the tide oi Red Roy. 
 
 On May 17th, Incledon appeared as Captain Macheath, and on the 
 1 8th as Tom Tug. May 31st, 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 HI ; and 
 on the 19th 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 12th, and remained so closed for 
 nearly three years. 
 
FIFTH PERIOD, 
 
 1809 to 1851. 
 
CHAPTER XVI. 
 THE SIDDOxNS REIGN. 
 
 H E 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. 
 
 R 
 
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 pardy 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, }ehft-^«mble, 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. 
 
 I 
 
1 809-10.] 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 14th 1809, with the Comedy of the Honeymoon ; 
 the Duke and Juliana by Mr and Mrs Siddons, Forttmes 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-tiwrk 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. 
 
26o 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 
 
 Fou7idling 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 20th, 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. 
 
1 809-10.] 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 12th, 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 20th, 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 
 1 8 10, when The Ter7tpest 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 18 10), 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 30th, 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 18 10) 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 I7lh, when it 
 was put on instead of King John, Mrs Siddons being ill and not able to play. 
 
iSio.j 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 14th rSio, she opened as Lady Macbeth; afterwards 
 playing in the Mourning Bride (March 15th), 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' 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 20th, 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 E ngland, 
 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 30th, 
 in the West Indian. He finished his engagement on Saturday, July 21st, 
 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 17th 
 
 • 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 Falstaff in Henry IV. 
 for the first time; and on December 15th, 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 gendemen 
 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 15th 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 = 
 H alii well ; Lady Margaret = Mrs M'Namara; Blanche of Devon = Mrs 
 Young. 
 
 On February 2nd Bannister appeared as Colonel Feign well in A 
 
 * By J. F. Williams. + See preface of edition printed in London, iSll. 
 
 I 
 
iSii.J 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 rth, 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 i8th Siddons brought out another version of the Lady of 
 the Lake, by the elder Morton, under the title of The Knight of Snow- 
 doun. 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 181 1, 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 9th, 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 13th, as Queen Katherine in Henry VIII., when she spoke a 
 farewell address. 
 
 The famous comedian, Munden, came for a few nights, commencing 
 
 March i8th, 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 1 6th, 
 when the celebrated Miss Smith, Scott's particular favourite, appeared, 
 along with Jones from the Haymarket. 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 loth. 
 
 The Clandestine Marriage was announced for the opening of the 
 following season on November 14th, 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 23 rd, and on the following evening he 
 played the part of Shylock for the first time. 
 
 * Memoirs, vol. ii. p. 213. + 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 Corri'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 
 VIII., for the first time in Edinburgh on the 4th, and Old Norval on the 
 1 2 th, 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, 4s. for boxes, 3s. 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 17th, 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 14th, and the summer season closed on the first of 
 the following month. 
 
268 The Annals of the Edinburgh Stage. [i 8 13- 14. 
 
 The proceedings of the following season (18 13-14) are of very little 
 interest. After the opening on November 20th, 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 19th; 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 21st, 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 Catalani 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 18 14) 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 j'unior 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 (18 14-15) 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. Thus Runs the World Away ; it was only played 
 twice, however. On the 13th 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 Febfuary 
 1 8th, with Murray and Russell as the two Dromios ; played several times. 
 
 On March 1st Mrs H. Siddons had her benefit, when the Wild Indian 
 Girl was played, with Henry Siddons as Captain Downright ; it proved 
 
 * Theatrical Inquisitor, \ Ibid. 
 
270 The Annals of the Edinburgh Stage. [18 14- 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, '\xv 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 12th 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 
 Corri'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 value 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 Corri's Rooms, which he was bound to retain for three years. 
 He had also to pay ^^1500 for restoring the old theatre, and ;^5oo for reconverting Corri's 
 Rooms into a concert room. 
 
 " Thus the bardens 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 ....... 1,500 
 
 Reconverting Corri's Rooms ..... 500 
 
 ;^2 1,000 
 " 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 ;^iooo, 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 
 _;^3ioo. The taxes of the theatre are nearly ;^2oo; the expenses of performers, carpenters, 
 coals, candles, tradesmen's bills, &c., about p^i6o 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 ;^23o. . . , 
 
 * For short Biography, see Appendix. 
 
1 814-15-] T^''^ 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 direcdy 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. Time's 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 20th, 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. [18 15. 
 
 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 21st, but played on that and the 
 following nights to thin houses ; and the short season closed on the 30th, 
 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 (18 15- 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 i8th) was eagerly looked forward to. 
 
i8 15-16.] 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 20th) 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 21st) 
 Henry K///.— Wolsey = Terry; Henry VHI. = Eyre; Cromwell = 
 Murray; and Katherine = Mrs Siddons. Macbeth on the 22nd; Henry 
 VHI. 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 29th ; and The Gamester on the 30th, 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 29th 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. % Memoirs, vol. ii., p. 389. 
 
 .S 
 
2 74 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 £102,, 
 and on April 18th 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 15th 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 29th ; 
 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 7th, when it reopened 
 with Kean as Richard HI. 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 
 
 * Thtairical Inquisitor, \ Thespian Critique, 1816. 
 
1 8 16-17.] The Annals of the Edinburgh Stage. 275 
 
 Mrs H. Siddons' Portia; October 9th, Sir Giles Overreach ; October loth, 
 Othello, — Iago = Trueman ; October 12th, benefit and last night, Hamlet. 
 
 The following winter season (18 16-17) 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 
 Gravedigger = Russell ; Ghost = Finn; and Ophelia = Mrs H. Siddons. 
 
 Mr C. Kemble appeared on December 28th, and with the exception 
 of the production, on Jantiary ist 181 7, of The Broken Sword, a melo- 
 drama which ran twenty-four nights ; and the pantomime, on February 
 \\}i\, oi 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 
 
 * Jklarch |2th, 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. 
 
 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, 18 17. * 
 
 " 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 efTect. 
 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." 
 
 1 1 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.) 
 
i8i6-i7-] TJie 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 hne 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 13th 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 1 3th he played Cato ; on the 
 15th, Penruddock, in The Wheel of Fortune ; 17th, Macbeth; i8th, Wolsey, 
 in Henry VIII. ; 19th, Coriolanus ; 20th, Richard III. ; 22nd, Coriolanus 
 repeated; 24th, Brutus, in fultus Ccesar; 25th, Hamlet; 26th, Brutus, in 
 fulius Casar 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 Scoit. 
 
278 The Annals of the Edinburgh Stage. [18 16- 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 jjassion 
 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 Alencjon, 
 
 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 knffzv 
 A way, if U take right, in spite of fortune. 
 Will bring me off again — What's this — To the pope," &c. 
 
i8 16-17.] 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 31st — the second day after Kemble had made his last — Lis- 
 ton the famous lowcomedian 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 
 Giiy 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 
 
28o 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 Signers." 
 
 Murray took his benefit on April 15th, 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, 18 17, opened on July 14th with \h^ 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 
 15th 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 19th Grimaldi took his benefit. On July 21st, 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 
 18 18, on which evening, at seven o'clock, The Way to Keep Him was 
 produced. On the 12th 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 15th, 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 19th. 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 many 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 Tlie Annals of the Edinburgh Stage. [181 7-18. 
 
 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 
 2 1 St, 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 13th, Richard III. Richard = Yates, his first appearance 
 in that character. 
 
 Kean opened for eight nights on March i6th, and on the 19th 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 31st 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 20th, and the season terminated on May 22nd. 
 
 * Playbill. 
 
i8i8.] The 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 7th, 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 20th 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. [18 18- 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 7th 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 
 nth he played his original part of Mr Green in the Haymarket piece. 
 The Green Man, and took his benefit on the 19th. 
 
i8i8-i9-] The Annals of the Edinburgh Stage. 285 
 
 On December 21st 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 oi X 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 30th). 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 Wou'd Not. Hypolito = Mrs H. Siddons, her first 
 appearance in the part. Yates took his benefit on January 21st, 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 lime by the Lord Chamberlain, 
 
 y 
 
CHAPTER XVI r. 
 
 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 Rob 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 15th, 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." 
 + Pocock's version produced originally at Covent Garden, March 12th 181S. Rob Roy=Mr Macre.idy ; 
 
 Bailie Nicol Jarvie=Mr Listen ; Francis=Mr Sinclair ; Dougal=Mr Tokely ; Diana=Miss Stephens ; Helen 
 
 =Mrs Egerton. 
 
Cajffwtio i/ij J.JCor.'/'i.-.riff. 
 
 MACKAYaS the EAILIE, 
 
i8i8-i9-] 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 = CoUyer ; 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 1 8th : — 
 
 "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 Liston, 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. [i 8 18-19. 
 
 " 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? 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 7nal 
 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 Baihe Nicol Jarvie. After the twenty-fourth performance the 
 
 * February 20th. 
 
i8i8-i9-] 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 rs-n 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 oi ^2i°°° 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 neces.sary: — 
 
 " 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 entided 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. [18 18-19 
 
 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 facto), 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 
 jQs)i ^s 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 and 
 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-T9.] The Annals of the Edinburgh Stage. 291 
 
 age of His Royal Highness the Duke of York ; their Graces the Dukes 
 of Gordon, Argyle, Oueensberry, 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. [18 19. 
 
 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 Mamiering 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 bhidficiare, 
 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 12th Mrs Renaud appeared for the first time in the part of 
 Meg Merrilees, being for her own benefit. 
 
 Murray had his benefit on May 1 7th, 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 20th 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 words, '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 ;^3oo. 
 
 * 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 dehtt 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 20th, 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 27th with xhe. 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 30th, 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 i ith 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 27th, 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 HI. having been gathered to his fathers, the Theatre 
 was closed by order of the Lord Chamberlain from February ist to 17th. 
 
 * The preacher (Thomas Weston) had known Mathews' father, who had been a strict Methodist. 
 t Late Miss Dyke. 
 
294 ^/^^ Annals of the Edinburgh Stage. [1819-20 
 
 On the 19th, 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 18 19, 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 Tam = 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." f Vol. ii., p. 165. 
 
1820-2 1.] 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, Liston commenced a five nights engagement, and on 
 the 29th 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 13th Prior, from the Pantheon, made 
 his first appearance at this Theatre, playing Rob Roy; and on the 19th 
 Murray produced for his own benefit. More Plots than One, for the first 
 time here. Duff had i?o<5 i?OjK 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 1 7th, and on the 
 29th took his farewell benefit before going to America ; Miss Stephens 
 and Mr Horn followed (August 21st), while the season came to a close on 
 September 2nd. 
 
 The following winter season (i 820-1) opened on November 15th 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 27th, 
 
 * 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, £i,o ; Tuesday, ;^4S ; and Saturdays, ;f 52. 
 
296 Tlie Annals of the Edinburgh Stage. [i 820-1. 
 
 Hallowe'en ; 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 A Hart — 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 20th. The cast was as follows : — 
 Earl of Glenallan = Anderson ; Sir Arthur Wardour = Roberts ; Jonathan 
 01dbuck = 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 01dbuck = 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 12th) 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 arise of los. a week, his salary being at the time £2, los. 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 (i 821) to reopen on 
 
1 82 1 -2.] The Annals of the Edinbtirgh Stage. 297 
 
 the 30th 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 
 " National Opera" oi David Rizzio, from Drury Lane, was produced, and 
 on the 31st, a magnificent spectacle of the coronation was introduced into 
 the second part of King Henry IV. This ran to the closing on Septem- 
 ber 15th, 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 21st, 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 13th 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 Lanimermoor. 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. [182 1-2. 
 
 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. 
 
THEATRB-ROYAI., EDINBURGH. 
 
 BY COMMAND 
 
 OP 
 
 HIS MAJESTY. 
 
 This present Evening, TUESDAY. August V- 1822, 
 Will be performed llic Mational Opera of 
 
 ROB ROY MACGREGOR, 
 
 OR 
 
 AULD LANGSYNE. 
 
 WITH TRX OMSINAL MVSIO, AND APPROPRIATE SCENBRT, MACRINERT, DRESSES .JiO DEOOBATIONS. 
 
 Sir Frederick Vernon bv Mr MUNRO, 
 
 Rashleigh Osbaldiston by Mr DENH AM— Francis Osbaldiston by Mt HUCKEL. 
 
 Captain Tliornton by Mr MURRAY— Major Galbraith by Mr WEEKES, 
 
 Rob Roy Maqgregor Cauipbell by Mr CALCRAFT, 
 
 Bailie Nicol Jorvie bv Mr MA JKA Y 
 
 Mr Owen by Mr ROBERTS— MacStewar'i by Mr LEE— Dougal by Mr DUFF. 
 
 WUlie by Master HILLYARU— Andrew by Mr AIKIN— Lancie by Mr STANLEY, 
 
 Scmcani l.y Mr HIH.Y ABD- Saundera 'Vylie by Mr POWEB, 
 
 t>%'U£A.'.Ucrs by Mesirs Broanhurst, SandiUnds, Roberison, Hewson, Cameron, Plover, Merryck, 0]tfig, Normsn, &c. itc. 
 
 Trftvcllers by Messrs Field, Lylesford, Brodie, Dunetable, Ecclea, Fotberingham, Gessner, Kerry, Larder, Stormoant, &c. 
 
 Lennox Troopers by Messrs Grant, Heath, rhomaon, Reid, Chis>liulin, Robb, i;nd Rutherford, 
 English Soldiers by Messrs Lawson, Lorimer, Reinard, Charteris, BelaUam, Orrock, Blenheim, Burgess, Lenaox, Crots, 4<:, 
 
 Helen Macgregor by Mrs JRENAUD, 
 
 Martha by Miss J. NICOL— Mattie by Miss NICOL— Hostess by Mrs MACKAY— Jean M'Alpine by Mrs NICOL, 
 
 Diana Vernon, for this Night only, by Mrs H. SIDDONS. 
 
 THE SCENERY WIUs BE EXHIBITED IN THE FOXJ.OWING SUCCESSION: 
 
 ACT TRE FIRST. 
 1. INTERIOR OF VILLAGE INN. 
 
 LIBRARY IN OSBALDISTON HALL. 
 
 5. ROOM IN BAILIE NICOL JARVIB's. 
 4. THF. OLD BRIDGE OF GLASGOW. 
 
 6. HALL ID GLASGOW TOLBOOTH. 
 
 6. CELL IN THE TOLBOOTH OF GLASGOW. 
 
 ACT THE SECOND. 
 
 1. THE COLLEGE GARDENS OF GLASGOW, 
 
 AND VIEW OF THE SPIRE OF ST MUNGO. 
 
 2. LIBRARY IN OSBALDISTON HALL. 
 
 3. INTERIOR or lEAN M'ALPINe's CHANCE HOUSE. 
 
 4. THE CLACHAN OP ABERFOYLE, 
 
 AND DISTANT. VIEW OF THE HIGHLAND LOCH. 
 
 AOr TBS THIRD. 
 
 1. THE PASS OF LOCHABD. I S. INTERIOR OF JEAN M'ALPINE''5 CHANGE HOUSE, 
 
 2. ROMANTIC OLCN IN THE HtGHI.AHns. | 4, VIEW OF LOCHLOMOHO, MOONLIGHT. 
 
 Ko Free Admission can V granted on the pn»ent Occasion, Renters aod SubKribers to the Theatre excejited. 
 
 The Pit ind tiallery Dwm will this Evening Open at Six o'clock— The Box Door will fipen at hairpaat Sis pVecisdy ; anj the Time 
 an>pointc(l for the Commeneement of the Perftmiances is Eight ©'Clock — It it therefore most eartiwtly and rcapectfully reqiiesteil, 
 that l.adicii and Gentlemen will be early in their Attendance. 
 
 The Transfer Office will not be Opened this Evening, as, tlie moment that the PitanrI Gdlerie* are filled, Pkrarilt rill U issned, no- 
 tifying die same, and should arty Lady or Gentleman taking a Ticket for the Fit be too fate in securing Admitunce, Uirir .Money 
 will be returned on Production of the Ticket To-Morrow Morning, at the Box-Ofhce. 
 
 No Money will he tMltcn at the Bos Entrance until the Tickets issued for this Evening are received. 
 
 All CaniageS will set down with the Horses* Heads towards Waerloo Place, and take up in the Opposite Direction, 
 
 ToMorrow the Tragedy of OTHELLO— the Character ol OHello by Mr Kf»N. 
 
 It being hie Last Appearance here but Three this Season. 
 
 VIVAT BEX. 
 
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 31st 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 14th 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- 
 
300 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 
 
i822.] 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 dra7natique, 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 ; Macstewart= Lee ; Dougal = Duff; Andrew Fairservice 
 
 * For most of the above particulars see a contemporary account of His Majesty's visit printed in book 
 form. 
 
302 The Annals of the Edinbtirgh 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 crarh 
 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 £1 a week, the 
 same was true of Denham and Boddie at 30s. each, Mrs Nicol at £2, Miss 
 J. Nicol at 15s. ; and when we consider how indispensable Mackay was 
 in all Scotch plays, it cannot be said that £i\ 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, 12s. 6d. ; Duff, two 
 guineas; Lee, 30s.; Bland, £2; Hillyard, 25s.; Aikin, 21s.; Power, 
 15s. ; Mrs Renaud, three guineas; Mrs Eyre, £2 ; Miss Nicol, 25s. ; 
 Miss Eyre, 15s. ; Miss Halford, £2 ; and Miss M. Nicol, 30s ; 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 ;^2 8,000 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 181 5,* and said 
 that, after paying off the debt of .^3,100 then standing, Mrs Siddons had 
 only made a clear profit of .1^900, 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 
 nighdy 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 1 8 1 5 
 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 oi Rob Roy in 18 19 — seven weeks in all; deduct expenses for that 
 period, as above, and we have ;^2949 profit. He also mentions ;^i500 
 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 ;^6o was a fair nightly average during the 
 season. The Dramatic Review estimated the expenditure at considerably 
 more than £\6o 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 gendemen 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 £\ 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 13th, 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 
 
1 822-3. J 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 Dra^natic Review, were well played. Vandenhofif, 
 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 
 
 Z<?;« a«fl^yi?rr)' 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. + See Old Drury Lane, Stirling, vol. ii., p. 167. 
 
 J It was plajed seme ihirly-six tinr.cs at ihc Theatre Royal, and oftener at the minor Theatre, 
 
 U 
 
o 
 
 06 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 Liston 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 Liston 
 gave a performance of Dominie Sampson (April 2nd), which aroused much 
 interest in the minds of playgoers. Liston, 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 1 2th 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 n. = 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 25th Murray was suddenly taken ill, and VandenholT 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 Bothwell Bridge, Hcensed 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 Ivanhoe on May 19th, 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 
 nth, 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 1st, with the comedy of the Poor Gentleman, and a new melo- 
 dramatic romance, The Father and the Son. Considerable improvements 
 had been made in the auditorium during the recess. A new gas-lustre 
 had 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 ol 
 Weekes. 
 
 On the 24th November a new version oi Ivanhoe 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 Daughter, 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 Sherzvood 
 Forest : — Robin Hood = Bing ; Little John = Brough ; Scarlet = R. Power ; 
 Friar Tuck = Mackay. Jews: — Isaac = Mason; Rebecca = Mrs H.Siddons. 
 
 On December 17th 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 
 JVew Way to Pay Old Debts {Y)ece.mhQ.r 17th), Richard IIL (December 
 18th), and Shylock (December 19th). He seems to have been no better 
 fitted for such parts than he was on the occasion of his benefit in 181 5. * 
 
 Vandenhofif 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 1 9th, in which it is worth noting that a company of 
 equestrians, under the direction of a Mr Cooke, was engaged. On March 
 13th 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 29th, but was only played a very few times. Excepting 
 the engagement of Charles Kemble (April 12th) 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 Gellatly = 
 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 Planch^'s adaptation of St Ronans 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 21st, 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 12th, 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 21st. 
 
 The season 1824-5 was opened on 13th 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 lier luisliand (the Theatre Prompter) during his last illness. 
 + It is questionable if this is correct. See 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 1 830, 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, Baroii 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 Noctes Ainbrosiancr, 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. 
 
i824-5-] The Annals of the Edinbtirgh 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 21st, 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 eyening 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 K, 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 12th, 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 ; Crista! 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 Schwanker= 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 Sttiart was produced as an after 
 piece, and ran for six nights. The season closed on the 9th. Ma^y Sttiart 
 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 jaroduced 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 13th ; 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 17th Miss Stephens, 
 supported by Mr Thorne, succeeded for a few evenings. 
 
 The winter season opened on November 12th 1825, the Theatre 
 
 * Became Countess of Harrington. 
 
1825-6.] The Annals of the Edinburgh Stage. %\% 
 
 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 Coeur-de-lion chain armour, and sported 
 silver mounted jjistols in Macduff." 
 
 The first production of importance this season was Paid Pry, Novem- 
 ber 2 1st. Murray, as the hero, was said by many good judges to have been 
 quite equal to Liston, the original exponent of the part, and the cast other- 
 
 * Murray's seasons 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. Jlurray 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 Liston'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 30th he pro- 
 duced William Tell, being its first performance here, and on December 
 loth he played Rob Roy. * The following is from Benson Hill's " Playing 
 About " :— 
 
 " Mr Macready was rehearsing Cardinal Wolsey ; a jNIr 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 — ei 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 Jlackay, 
 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 saiv, 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 Covent Garden, iSl8. 
 
1825-6.] The 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 JNIurray 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 12th, 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 20th 1826. 
 " Mv 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 Ornee. 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 Yxenz\\ 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 Weil-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 Vandenhofif," 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 27th the farce of Cramond Brig, or the Gudcman 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; Tam 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. + 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 
 were produced Much Ado About Nothing, Hamlet, Julius Ccesar, King 
 Lear^ Othello, Henry VIII., and Cymbeline, Vandenhoff playing second 
 lead to Young. 
 
 * " Sunday, March 19th, 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 20th, 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, yen'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 Tam 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, 
 
3i8 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 proteg'e, 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 16 jT, dramatised 
 by R. Pocock, was produced on June 17th; 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 Titer, 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 18 19. 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., 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 14th, 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 Nodes 
 he is spoken of as follows : — 
 
 " Shepherd.— H&Vi me, Sir, did you gang to see Mr Tay Pay Cooke in The Pilot 1 Did 
 ye ever see the like 0' 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.— "ZviX. 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 perfecdy. . . . 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 
 down 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 
 1 8 10, 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, 
 ' Finis ; ' ' no,' said Will Murray, ' it is Sir Walter Scott, he confessed it at a public meeting 
 the other day ! ' " 
 
32 2 The Annals of the Edinburgh Stage. [1827-8. 
 
 The season closed on July 14th, 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 30th, 
 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 Gamblers 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 13th. 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 
 // Turco in Italia, II Fanatico per la Musica, and La Gazza Ladra, a 
 selection that would scarcely attract audiences now-a-days. 
 
 On January 14th, 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 EdinburgJi Stage. 323 
 
 ment, playing lago to Vandenhoff's Othello ; Mrs Renaud, Emilia ; Mrs 
 H. Siddons, Desdemona. 
 
 Every Man in his Humour, by Ben Jonson, was revived this season 
 (February 20th), and was so successful as to call for two repetitions. 
 
 On Monday, April 21st, a drama in three acts, called Charles Edward; 
 or, The Last of the Sttiarts, 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; 0'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 12th, 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. Pelissid, M. Bertech^, M. Preval, M. Gamard, 
 Mile. St Ange, Madame Beauprd, &c. They played, among other 
 pieces : — Les Freres a L'Epreuve, L'ours et le Pacha, La Femme a Deux 
 Maris, Une Visile a Bedlam, Le Ddpit Amoureux, &c. 
 
 The Theatre again reopened on October 6th, with Miss Foote, who 
 was engaged for twelve nights, and on the 20th, 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 Httle 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 Two 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 19th; and on December 9th there 
 was played, for the first time in any theatre, a new drama called Aloyse ; 
 or, The Foresters Datighter, 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 i ith) 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 = Ebsworth, and William = Murray ; authorities — woodcuts 
 in the "Shepherd's Kalendar," printed by Pinson. Rosalind = Mrs H. 
 Siddons. Celia= Miss Gray. Phoebe = 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 ^s Jack Robinson and his Monkey. January ist 1829, in addition 
 to Charles Edward a.nd 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 tvhole pfice, leaving me to my remedy." Planche did 
 not bring an action, but summoned a meeting of authors ; and the resuh 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 her 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 21st 18 14, 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 15th 1816 ; between that date 
 and February 12th 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 30th 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 Covent 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 Weathej'cock, 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 12th, 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 17th, 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 t\i& Keepsake, for 1830. Elliston, who 
 then had the Old Surrey Theatre, immediately had it brought out on his 
 stage (Tuesday, 17th 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-] Tli^ 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 i6th 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. It 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. 
 YehruSirf 26th, Jtclius Ccssar. Julius Caesar = Denham ; Octavius Csesar 
 = 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 Gtiy 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. 
 X See page 322. 
 
330 ' The Annals of the EdinburgJi 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. 
 
 Masaniello was produced for the first time in Edinburgh * on March 
 30th, 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. I 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 30th 1829. 
 
 + See Appendix. 
 
 X MS. note by Cameron, viola player, in vol. of playbills once belonging to himself. 
 
1829-30-] The Annals of the Edinburgh Stage. 33 1 
 
 usual benefits, she came forward and in the most handsome manner lent 
 her powerful aid to several of the casts. 
 
 Liston 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 
 14th 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 17th 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. 
 
CHAPTERXIX. 
 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 RoyaF'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, I 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 20th and 21st July 1790, and was granted in favour of nine trustees, who 
 
 * See page 258. 
 
 + In 1793. See page 218. 
 
 J It extended over several years, and will be noted in its proper place. 
 
1 790-3-] The Annals of the 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, 3s. ; 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 sumof;^2, 12s. 6d., and 
 biting and throwing a horse upon its haunches, ^x, is." 
 
 On December 13th 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 20th. 
 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 179 1-2, 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 1 792 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 
 
 — — — 
 
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 Ducrow. 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, 3s. ; 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 ojDened by Jones on February 
 2 1st, 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, 3s. ; Pit, 2s. ; 
 Gallery, is.; but after that we hear no more of the Circus until 1803, 
 when, on January 14th, 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, LoUi 
 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. Corri 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 the Edinburgh Stage. 335 
 
 bad management procured such indifferent companies at the Theatre. In 
 the 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 
 Bardey gave an entertainment called Hospitality ; or, the Harvest Home, 
 assisted by Horn at the piano ; admission, 3s. 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 Williain 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 181 2. 
 
 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 18 12, 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. [18 12- 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 21st it was intimated to him from head quarters, that 
 Corri's application had been refused. 
 
 Some time in 18 13 Henry Johnstone made a similar application,* 
 without any better success. 
 
 The subscription concerts seem to have been discontinued in 18 14, 
 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 Corri's Rooms in 1815, after which nothing of 
 any moment occurred until 181 7, when the Courant contains the follow- 
 ing announcement : — 
 
 " Corri's New Pantheon. 
 " The nobility, gentry, and public of Edinburgh are respectfully acquainted the Pantheon 
 will open on Wednesday next, February 12th 18 17, 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 evidendy 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 3s., 2s., 
 and IS. In November 181 7, 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. ij, 
 
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 17th 
 1 8 1 8, we find the following extremely interesting announcement : — 
 
 PANTHEON. 
 
 First Night of Rob Roy. 
 
 This Evening, Saturday, January 17 th 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, 3s. ; 
 Pit, 2S. ; 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 22 nd 18 18, 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 consequendy 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 1 8 1 8 was not 
 
 * The great Mackay. 
 Y 
 
T,T)8 The Annals of the Edinburgh Stage. [i8 18-19. 
 
 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 Corri'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 iith 1819, Rob Roy was played for the first time that 
 season, Huckel, the tenor, taking the part of Francis ; and during the 
 same month both rope dancing and ballets figure prominently in the bills ; 
 Misses J. and M. Nicol appearing as principal dancers. January 21st, 
 Cherokee, with the celebrated dog Carlo, from the Surrey and Coburg 
 Theatres. Captain Moreton = Montague ; Jack Rattlin = Reilly ; Tom 
 Pipes = Huckel ; Bertha = Miss J. Nicol. On January 28th Reilly gave 
 a comic lecture in imitation of Mathews, 
 
1819-22.] The Annals of the Edinburgh Stage. 339 
 
 February 2nd, second night oi Heart of Midlothian. John Duke of 
 Argyle = Dearlove ; David Deans = Jervis ; Reuben Butler = Lee ; George 
 Staunton = Fillingham ; Jack Ratclifife = Munro ; Saddletree = Best ; 
 Laird of Dumbiedykes = Bell ; Sharpitlaw = Reilly ; Queen Caroline = 
 Miss J. Nicol ; Jeanie Deans = Mrs Dalton ; 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, Signors 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 21st 1820, was advertised a fancy ball. Tickets 7s., and to 
 the gallery 3s. " 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 182 1, 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 182 1, 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. 
 
340 The Annals of the Edinhirgh Stage. [1822-23. 
 
 " at home" entertainment. The charges were raised to 5s., 3s., 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 
 4s., 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 180 1, 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." 
 
 Gilderoy* 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 20th, 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 Corri'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 19th, Peveril of the Peak, first time; after which, "first time 
 on any stage," Burns' y^o/Zy Beggars. 
 
 April 7th, last night of season, when Bradbury, the clown, appeared 
 in the pantomime of Mother Goose. 
 
 Johnston was not sufficiendy 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 7th 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 = Buder ; 
 
 * Barrymore's version probably, see p. 319. 
 
342 The Annals of the Edinburgh Stage. [1823-5. 
 
 Sir Phillip = R. W. Power. July 19th, 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 21st. 
 
 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 20th 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 ; Colly er, from 
 Theatre Royal, Bath, &c. 
 
 On February nth, 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 19th, for the benefit of Mr Ryder, a new version of Kenilworth. 
 March 29th, 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 20th 
 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 Haymarket, 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,ooo. 
 
344 The Annals of tlie 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, 
 3s., 2S., and IS. 
 
 On June 19th Mr Yates opened with an entertainment entitled, 
 "Yates' Reminiscences," continuing until July ist, the prices being raised 
 to 5s., 3s., 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 9th, 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 13th 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 
 20th. 
 
 Alexander opened for a short season on December 29th 1828, closing 
 on January 17th 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 13th 1S29, 
 with an original address. 
 
 On June 15th, 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 Mayflower = Miss 
 Poole. 
 
 July 30th, for the first time in Edinburgh, the melo-dramatic spectacle 
 oi Masaniello. AIfonso = 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 Signor 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 14th, under the patronage of the 
 Duke of Hamilton. 
 
 Bass opened for four nights on December 30th, 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, 
 we 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. conc\\i.di\ngisirc& oi Law and Lions. 
 The prices were 3s., 2s. 6d., 2s., and is. 
 
 The season, although announced for only four nights, extended to 
 ten, during which time Lloyd ^\diy&d Ji/teen different parts, besides singing 
 comic songs. 
 
 After the Caledonian closed, on January 9th 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 Susari," 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 loth 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 Ambrosiance, 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 Freischiltz, 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 2 1st, 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 9th, had to take 
 quite a second place on the bills. 
 
 On October 9th, 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 20th, 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. 
 
 H E Patent granted to Henry Siddons in 1 809, 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- 
 
35° The Annals of the Edinburgh Stage. [i 830-1. 
 
 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 17th 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 nighdy 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 
 19th 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 15th) 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 not much over thirty when he died. He is described, by the only 
 member of the company of 1 830-1 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 0/ 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 verypopular. 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. 7ar/«r.f— 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. [183 1-2. 
 
 nothing except melo-drainas and spectacle pieces were performed during 
 the whole of the season, which lasted till September loth. 
 
 The following season (183 1-2) 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 Byfield, 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 debtit. 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 14th, The 
 Evil Eye, a romantic musical drama, was produced, and acted some 
 twenty-one nights during the season. On October 31st, The Renegade, 
 a tragedy by the late Mr Maturin, author oi 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 — 
 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. Dotninique 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 5 th saw the pro- 
 duction here of Macready's adaptation for the stage of Lord Byron's 
 
1 83 1 -2. J The Annals of the Edinburgh Stage. 353 
 
 Werner, Miss Paton gave a few performances during the month, and on the 
 19th, 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 
 Signor 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 21st by the first performance here of 
 Buckstone's burlesque Billy Taylor. On the 13th, 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 15th 1833) he 
 died. Douglas Jerrold's Rent Day was still in its first season at Drury 
 Lane, when, on March 13th, 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 Heywood= 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 Logie = Pritchard ; Host of the 
 
 z 
 
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 30th the Adelphi opened with two new plays, Eugene 
 Aram and The School for Cotcrtiers, the latter for the first time on any 
 stage. Ezcgene Aram proved decidedly successful, but the hit of the 
 season was Planche's " infernally original and exceedingly ?'w/-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 29th 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 debtit wndi&r 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 Wantleywas produced on December 31st. J. Ridgway was Harlequin; 
 T. Ridgway, Clown ; Wilcox, Pantaloon ; Miss E. Lancaster, Columbine. 
 It was played twenty-four times. On January 19th, 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 9th, 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-] Tlie Annals of tJie 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 25 th with Miss Fanny Ay ton 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 Haynes = 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, 
 was brought out on July 15th, apd 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 21st 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., iSjl. 
 
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 30th 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 15th, 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, 1834, 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 
 •w'lXh 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. 
 
1 834-] 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 jMrs 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 1 1 th a new operetta called Jessie, the Flower 
 of Dumblane, 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 tJie Era, 1853, and April l6th, 1881. 
 
360 The Annals of the Edinburgh Stage. [1834. 
 
 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 30th June ; Miss Coveney 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 9th, 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" 
 I he gratefully acknowledged the great success of the season. During the 
 i ninety-six nights six hundred and sixty-one acts had been performed. 
 
1834-5-] '^^ 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 (' Twas I), 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 13th, Guy Mannering. Henry Bertram = Barker (first 
 time) ; Gabriel = Walker, his first appearance on any stage ; Meg Merri- 
 lees=Mrs Hield ; Lucy Bertram = Miss Coveney ; Julia = Miss Newton. 
 On the 20th 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 : — Francois = 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 loth, 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 Lauder ; or, 
 Harlequhi 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 19th, 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 loth, Planche's drama. The 
 Regent, farce Is He Jealous ? 102 (interlude), and the Pantomime! Tlie 
 Haunted Chamber, The Lancers, The Highland Reel, and the Pantomime 
 constitute the following evening's amusements; and on the 13th, 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, 4s. ; pit, 2s. 6d. ; first gallery, 2s. ; second gallery, is. ; and the 
 performance generally commenced at seven o'clock. 
 
 Wilson took his benefit on January 17th, playing Steady in The 
 Quaker, after which Everybody s Husband, then a concert, consisting of 
 ten items, and Craniond Brig. One of the numbers in the concert pro- 
 gramme was a song by Stretton the bass, his first appearance in Edin- 
 burgh. Signer Emiliani, the violinist, appeared (for one night only) on 
 the 2 1 St, 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 
 Harold, 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-] '^f^^ 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 Matdey, 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 30th, 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. Planchd's comedietta, 
 My Friend the Governor, was produced on June 13th, 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 Auderge 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 y^^-^ 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 Ertninu we have a mild reproduction of the two thieves. 
 
1835-6.] 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, 3s. ; 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 Heywood, and Mrs Fisher as Rachel 
 Hey wood. On the 9th 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 
 1835. On the 1 2th Robert Macaire was played under that name; and 
 on the 14th, 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 Matdey ; 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. Planch^'s comedy. The Court Beauties, was 
 produced on the 30th. 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 TJie 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 15th, 
 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 
 2 1 St). The pantomime ran twenty nights. 
 
 A decided novelty was given on January 28th 1836, when Rob Roy 
 was played, with Wilson, the eminent tenor, in the tide 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 fir.st 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 21st, 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 njghts engagement, Wilkinson, the leader of 
 the orchestra, took his benefit, at which H. E. Dibdin played a harp solo. 
 From the 30th 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, 
 Douglas was played, the part of Young Nerval 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 oS. Rob Roy by M'Neill at the Princess's 
 Theatre (March 20th 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 lago ; 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 Tlie Annals of the Edinburgh Stage. [1836. 
 
 In his address at the conclusion of the season (June 21st) 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 ot 
 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 4s. ; while the boxes or dress circle was 3s. ; 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 oi 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 20th, 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 13th, 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 20th, 
 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 14th) Murray played the character of Sir John Falstafif 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 12th 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 
 
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 14th) 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 Ion, 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 21st 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 
 
1 837-] 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 The 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 31st) ; Stretton (August 30th) ; and Wilson, his first appear- 
 ance at this theatre (September 4th). Wilson played Donald in The Moun- 
 tain Sylph : Rudolph, in Der Freischiltz ; Tom Tug, in The Waterman ; 
 and Dandie Dinmont, in Guy Mannering (September 21st). 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 1st, 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 Falstafif 
 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 14th, 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 ; SamWeller= Lloyd ; 
 Mrs Bardell = Mrs Turnbull. This, the first of the Dickens adaptations 
 that was played in Edinburgh, ran for eighteen nights. 
 
 On February 9th 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 ! F'our nights 
 afterwards (26th) Montague Stanley took his farewell benefit, playing 
 Richard HL (for the last time), Robert Macaire, and Splasher in The 
 
 * Rice, the original Jim Crow, had been underlined to appear this season, but did pot 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 Kean'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 G 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 Bulwer's Zia;^ 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 12th, con- 
 tinuing till October 19th, 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 14th, besides these extra hands, 
 Templeton was engaged, and made his first appearance in Edinburgh, 
 playing his original part of Elvino in La Sonnanibula to the Lisa 
 of Miss Inverarity. Ranger, from the Haymarket — a comedian of 
 the Farren school — appeared on the 19th ; on the 21st, 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 
 27th; 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 21st 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-] Tlte Annals of the Edinburgh Stage. 375 
 
 all her money, and had to return to Edinburgh in 1838 to teach 
 music. 
 
 On January 21st 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 frst 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 14th 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 27th 1885. On the same evening (January 29th, 
 1840) the part of Hamlet was played by another new comer, Cathcart, 
 
2,7^ The Annals of the Edinburgh Stage. [1839-40. 
 
 who must not be confused with the Cathcart of Princess's, London, 
 fame.* 
 
 On December 21st 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 30th 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 17th, a version of Ainsworth's y^t/^ 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). 
 
1S40.] The 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 1st, Robert Macaire, the part of Pierre, head waiter, by Sam. 
 Cowell, from the Theatre St Charles, New Orleans — his first appearance 
 in Europe. According to a sketch of his life published in 1853, his 
 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 iith 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 Haymarket, was brought out without much success ; and on the 
 27th Wilson made his first appearance since his trip to America. 
 
 On September i ith 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 -a. 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 17th 1870. 
 
 Prior to the commencement of the winter season the " Royal " 
 opened for a few nights (October 27th to November 13th) with some 
 exhibitions of lions and tigers. On the 14th 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 12th, " 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 
 
1 840- 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 13th, but the doors were again opened 
 on the 15th, to close finally on April 21st. 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 21st 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 the 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 resi)ectfully 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 " Corri'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 i860, 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 
 
1 84 1 -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 Buder=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 Swa^np, 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 184 1-2 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 9th 1888, 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 20th, Mrs Brougham, a sort of star, as Mrs Oakly in Jealous 
 Wife. November 24th, Robbers 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 31st. 
 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 17th, 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 15th, 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 12th 1842 ; the following being the salaries 
 paid : — William Murray, £^ ; Glover, ^3, 3s. ; King, £2,, 3s. ; Lloyd, 
 ^3 ; Euston, ^3 ; Conway, £^ ; Williams, £2, 2s. ; Cowell, £1 ; Ryder, 
 
1842.] The Annals of the Edinburgh Stage. 383 
 
 £2; Smythson, ^i, 15s.; Power, ^i, 15s.; Sullivan, £\, los. ; Leigh, 
 £\, los. ; Eburne, £\, 5s. ; Corri, £\, is. ; H. Corri, £\, is. ; Melrose, 
 15s.; Treasurer, £2, los. ; Redford, ^i, los. ; Miss Montague, ^5; 
 Miss Smith, ^3, los. ; Miss Julia Smith, £2,, los. ; Mrs Tellett, ^^3, 
 los. ; Mrs Leigh, £2, 15s. ; Mrs Brookes, £2, 12s. 6d. ; Miss Nicol, £2, 
 5s. ; Miss Conquest, £\, 5s. ; Mrs Turnbull, ;^i, 5s. ; Miss Ebsworth, 
 £\, 5s. Members of the Orchestra. — James Dewar, ^3, 13s. 6d. ; Mac- 
 kenzie, £2 ; Davis, £\, 15s. ; Piatt, Farmer, Mancar, Menzies, Hanson, 
 Cameron, £\, los. each; Davis jun., ;^i, 5s; Hoffman, £\, is. ; Chap- 
 man, £1. 
 
 The Adelphi summer season for 1842 — a memorable one as it proved 
 — opened on April 30th 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 XnL = Leigh; Baradas = F. Conway; 
 Chevalier de Mauprat = W. H. Crisp ; De Beringhen = S. Cowell ; 
 Franqois=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 20th, 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 o«t 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 ; Owen = Lloyd; Gal- 
 braith = Murray ; Gaoler = H. Corri ; Diana Vernon = Mrs Leigh (Leigh 
 Murray) ; Jean M'Alpine= Miss Nicol ; Helen Macgregor= Mrs Brookes. 
 On August 20th, Gtiy 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 21st), 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 Anonyfuous, and bitter taunt, 
 Which manager must oft from actors take, 
 When he himself might his quietus make 
 By merely ruttning ? 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 fir.st 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 12th, 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 Pro7npter 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 litde 
 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 3s., 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 13th, 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 (t4th). It ran nine nights ; and on the 27th a 
 pantomime, entitled Johnnie Fa; or. Harlequin 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.] The 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 13th 1843, The 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 ;^i 32 
 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 £2'^. 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 ;^I026, of which his portion 
 was ^243, 9s. 
 
 On April 17th, 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 15th, 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 was 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 30th, 
 Mrs W. H. Bland, from Co vent 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 14th, 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. The Lost Ship, in which T. 
 P. Cooke played his original part of Ben Treenant. On February 26th 
 The 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 30th Sullivan took his farewell benefit, the programme of 
 
390 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. Corn danced the "celebrated polka," by desire. 
 Lloyd sang the " Newhaven Fishwife," and Sam Cowell followed 
 with the " melancholie historie 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 31st, 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 20th of the following 
 month was brought out Webster's prize comedy. Quid Pro Quo. 
 
 On August 14th, 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; Tam O'Shanter 
 = Melrose ; Souter Johnnie = Watt ; Highland Mary = Mrs Leigh ; Spirit 
 of Scotland = Mrs Brookes. 
 
 On the 19th, Polkaniania, 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 19th, 
 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 21st. 
 
 * Died 20th May 1880. 
 

 Fv. Sr.iRKL, R A pin 
 
 C MARTifj Hapdil a K' S a. de. 
 
 M^s H. SIDDONS. 
 
1844-5-] '^^'■^ 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 exainple 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 9th 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 biographar of DaviJge Laiter, thii 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 Question, 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 1 7th, Don Cccsar De Bazan was acted for the first time in 
 Edinburgh, on which occasion James Wallack appeared in his original 
 part (Don Csesar); 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-] Tlie 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 21st; 
 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 ^^^ 
 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 19th). Felix Goldthumb = Wynd- 
 ham ; Goldthumb = Murray (twenty-eight times). Mr and Mrs Caudle 
 (July 31st). 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 1st 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 27th 
 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 J^lie 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 jDerformance, 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 15 th. 
 
 + Author of several very inaccurate ihcatiical works, including a " Life of Phelps. " 
 
 i 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 12th, 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. Zear was announced 
 as " from the original text of Shakspere." 
 
 Braham appeared for only one night (March 27th), playing Count 
 Bellino in Devil! s Bridge, and Tom Tug in The Waterman. The last 
 night of the season was on May 2 [st. 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 30th 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 30th 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 1st. The season closed on Saturday, August 29th, 
 and on Monday (31st) 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 19th, 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 12th, the " Ethiopian Minstrels " for six nights. A splendid 
 production ol 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.tson 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 21st, Richard III. 
 
 * It was given on the following evening (October 5th) to Honey. t Died in America, nth July 1875. 
 
39^ The Annals of tlie 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 M acaire = 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 9th 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. Aldridge— the African tragedian — appeared, after a long 
 absence, on May 29th, as Othello. 
 
 On May loth, 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 31st). 
 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 30th, when his mother, Mrs 
 Glover, appeared in Spring and Autumn as Mrs General Dartmouth, and 
 as Mrs Quickfidget in My Wife's 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, 31s. 6d. ; side seats and front gallery, 2Ts. ; 
 under the gallery, 15s.; back gallery and orchestra, los. 6d. ; organ 
 gallery, 7s. 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 
 13th 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 
 setde 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 Ccesar v/diS revived on November 15th. Charles II. = 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 yojir 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 
 
400 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 9th. 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 iith, 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. 
 j» — On December 15th, 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 Hardcasde = 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 12th, ZJt'w^/a.f, Young Norval= Dickenson (for 
 this night only), from Theatre Royal, York, " his only appearance here 
 this season ;" but on the 14th Othello, Othello = Dickenson. The same 
 piece on the 20th, Othello = E. Glover ; I ago = R. Younge ; Roderigo = 
 W. Howard. 
 
 Miss Helen Faucit appeared on January 31st (prices raised to 4s., 
 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 12th, 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 9th, and on the 20th Mackay announced his pro- 
 fessional farewell, which was to last over several weeks. On the 20th 
 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 17th ; but on April 20th 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 19th, 
 " will be performed for the last time," Guy Mannering ; again on the 24th, 
 \h& Heart of Midlothian,'' ior the last time in Edinburgh." And on 
 Mackay's last night, besides Rob Roy ^or the " last time," there was played 
 Craniond 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 18th, 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 Adclphi 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 G 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 9th 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. 
 
1 848-9. J 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, 3s. ; 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, with 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, Mr 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 (1848) 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 jSIr 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, 
 
 " ' 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 21st 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 1 
 leave you the better, as my presence cannot be agreeable. I should like to finish the 15th 
 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, 2Sth 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 rnan 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 
 l)atronage 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 trom Birmingham. Webb, 
 before this time, had made his mark at minor theatres in London ; his 
 
4o6 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 BeljDhegor, Dirk Hatterick, and Dennis, in The Sergeant's Wife, while 
 as Dubosc in The Courier of Lyons he displayed a savage ferocity, which, 
 in the opinion of witnesses of his acting still living, far surpassed Irving's 
 performance in the same part. Webb afterwards became manager of the 
 Queen's Theatre, Dublin, and — as will be seen by-and-bye — became 
 celebrated for his performance of Dromio of Ephesus, his brother Charles 
 playing he of Syracuse. Webb was married when he came to Edinburgh, 
 but his wife dying soon after, he married Miss Parker, the popular 
 soubrette of the company ; he died January 15th 1867. 
 
 November 6th, Van Amburgh appeared with a collection of trained 
 animals. On the 13th (in addition to the wild beast show), Planche's 
 amusing drama. The Jacobite, was produced here for the first time. Lloyd 
 was John Duck ; King, Sir Richard Wroughton ; Miss Coveney, Lady 
 Somerford ; Miss Nicol, Mrs Pottle; and Miss Parker, Patty Pottle. It 
 was only played three times during the season. 
 
 On November 20th the then really great tragedian, G. V. Brooke,* 
 appeared as Othello. This unfortunate actor, who, but for his own un- 
 steadiness, might have reached the top of the ladder in his profession, 
 is perhaps best remembered by his tragic death on board the London, 
 which went down in the Bay of Biscay loth January 1866. Edmund 
 Yates, in his " Recollections," gives one or two very interesting notes 
 regarding Brooke in his prosperous days, which may not be out of place 
 here : — 
 
 " My first regular recollection of the Olympic is going there to the pit, to see a man who 
 had taken the town by storm, as Othello. Gustavus Vaughan Brooke was his name, and he 
 remains in my memory as the best representative of the character I have ever seen. Manly, 
 soldierly, with all Salvini's gallantry and pathos, without a suggestion of Salvini's repulsive 
 violence, with a voice now capable of the softest modulation in love or pity, now trumpet- 
 toned in command — such was G. V. Brooke when I first saw him. He soon dropped away, 
 poor fellow ! — became a heavy drinker of stout and porter mostly, and lost his gallant bearing, 
 and his voice grew thick and muddy ; and though he played for years afterwards, he was 
 virtually a lost man in his first season." 
 
 His first part here, as mentioned above, was that of Othello to the 
 lago of James Bennett; Cassio = Wyndham ; Roderigo = Alfred Davis, 
 
 * Although not so announced in the bills, this must have been his first appcavance since boyhood in 
 Edinburgh. 
 
1848-9-] The Annals of the Edinburgh Stage. 407 
 
 his first appearance here; Desdemona= Miss Coveney ; Emilia = Miss 
 Cleaver. 
 
 December 4th, James Anderson (formerly of the Edinburgh com- 
 pany) and Mrs Warner commenced a twelve nights engagement, during 
 which they appeared in a round of tragic parts. 
 
 'D&c&mh&T i%th., Romeo and Jtdiet. Romeo = James Bennett; Mer- 
 cutio = Wyndham ; Nurse = Miss Nicol ; Peter = Lloyd ; Juliet = Miss 
 Laura Addison, from the Haymarket, her first appearance in this Theatre. 
 Her engagement only lasted until the 23rd, and on the 27th the panto- 
 mime of Aladdin was produced. The music was by Mackenzie and the 
 scenery by Frederick Lloyds. Aladdin was played by Miss Vivash ; 
 Ching Fou by Miss Nicol ; and the Spirit of the Lamp, by Miss Harriet 
 Coveney. Mr Samuel Lake was Harlequin ; Charles Lloyds, Clown ; 
 Miss Raymond, Columbine; and Parry, from Dublin, Pantaloon. Aladdin 
 ran twenty-six nights. 
 
 In those days no more than one performance of the pantomime was 
 given per diem even at New Year time, but those who attended the Theatre 
 at night got good value for their money. Eor instance, on January 4th 1849, 
 for the first time that season, Planche's historical drama, in two acts, 
 Charles XII. At the end of the drama, the Gi'and Pas de Quatre, from the 
 popular ballet of Le Lac des Fdes, by A. Webster and Madlles. Les 
 Soeurs Saint Louin, assisted by Miss Weems ; to which will be added the 
 popular interlude The Two Gregories, by T. Dibdin. The whole to 
 conclude with the pantomime, consisting of fifteen scenes, and a panorama 
 of Her Majesty's late visit to Scotland. 
 
 On January 22nd Miss Helen Faucit appeared for the first of twelve 
 nights, the prices being raised to 4s., 2s. 6d., is. 6d., and is. She opened 
 with The Hunchback, which was followed by the pantomime. 
 
 Catharine and Petruchio, as altered by Garrick, but with Shakspere's 
 introduction, was produced on February 15th, and the scene of the piece 
 was "laid in the Baron's Hall, fitted up for a temporary theatre as in the 
 days of yore." In the introduction T. King played the Lord; Murray, 
 Sly, the Tinker ; Josephs, First Player ; Henry Webb, Second Player ; 
 Lyons, Page. In the drama — Petruchio = Wyndham, his first appearance 
 in that character; Grumio= Henry Webb; The Tailor = Parry ; Music 
 Master = W. H. Eburne ; Bianca= Miss Vivash ; Curtis = Miss Nicol; 
 Catharine = Miss Coveney. It was played twelve times during the season. 
 
 On Monday, April 2nd, Maurice Power, son ol the famous 
 
 % 
 
4o8 The Annals of the Edinburgh Stage. [i849- 
 
 Tyrone Power, and himself an excellent Irish comedian, made his first 
 professional appearance in Great Britain, playing Sir Patrick O'Plenipo 
 and Paddy Carey. 
 
 At Mackenzie's benefit on April 21st, Master Bridgman played a solo 
 on the concertina, and Murray's benefit, and last night of the season, was 
 on April 23rd, when was played Catharine and Petruchio, and " this being 
 the anniversary of Shakspere's natal day," Shakspere s House to be Sold. 
 
 The Theatre was then let to Madame Warton, who opened on May ist 
 1849 with "an original and classic Walhalla Entertainment." During 
 August an Italian opera company occupied the boards, and on Sep- 
 tember 3rd an after-season commenced, when Miss Fitzwilliam appeared 
 for the first time in Edinburgh, being supported by Donald King in a 
 number of English operas. During this after-season an actor who was to 
 have a long and important connection with the Edinburgh Stage made 
 his first appearance here. This was Thomas Powrie, from the 
 Prince's Theatre, Glasgow, but a native of Dundee, and who made 
 his first appearance in Edinburgh on October loth, 1S49, as Hamlet, 
 Wyndham playing Laertes, and Miss Frankland, Ophelia. The following 
 day the Courant said that Powrie " displayed talents which entitle him to 
 take a high place among living actors." This was no doubt true, although 
 in his latter days Powrie did not improve. It is quite possible that he 
 did not study much, or endeavour very hard to improve in his profession ; 
 nor would the possession of private means aid him much in the progress 
 of his art. 
 
 An exceptionally fine ballet company, under the management of 
 Harris — father of the present lessee of Drury Lane — opened here on 
 October ist. The principal dancers were Mdlle. Wuthier and Signor 
 Casati, while Glover of Glasgow allowed Mdlle Adele, Mr Martin, and 
 Miss Massal, who all belonged to his company, to come through and 
 assist. It is well worthy of note, too, that on this occasion the ladies of 
 the ballet were all brought specially from London. The opening ballet, 
 on October ist, was " Les Patineurs" from the opera Le Prophete. 
 
 Murray took his benefit on October 22nd, the play being Henry IV., 
 in which Wyndham played Henry, Prince of Wales ; Powrie, Hotspur, 
 his second appearance in that character; Miss Nicol, Dame Quickly; 
 and Murray, Sir John Falstafif — this last a performance of undoubted 
 merit. On that evening Murray completed his fortieth year of service to 
 the public of Edinburgh, and in a well-written address, he brieHy reviewed 
 
1 849-50-] The Annals of the Edinburgh Stage. 409 
 
 the many notable scenes and people he had seen within the same walls. 
 Another theme he dwelt on was the altered state of theatricals ; even 
 then radical changes in the economy of theatrical management were 
 taking place ; but in Edinburgh, so long as Murray reigned, little save 
 the " shadow " of the " coming event " of reform was perceptible. 
 
 In the mean time the Adelphi season (1849) — the legitimate termina- 
 tion of which was the after-season recorded above — had run its length. 
 It opened on May 19th, with a fine revival of As You Like It. The 
 Banished Duke = Channing,* from Manchester and Portsmouth, first 
 appearance ; Jaques = T. King ; Orlando = Wyndham ; Touchstone = 
 H. Webb; William = Murray ; Rosalind = Miss Frankland ; with new 
 scenery by Samuel Bough of Prince's Theatre, Glasgow, assisted by 
 Channing of Theatre Royal, Manchester. Shakspere, however, was not 
 legitimate " Adelphi " fare, and was shelved after three nights. 
 
 On May 28th was produced The Rag Picker of Paris, in which H. 
 Webb gave his powerful rendering of Father Jean — as originally played 
 by him in London. Miss Frankland was the Marie Didier. 
 
 On June nth Barry Sullivan revisited Edinburgh, playing a round 
 of leading parts, including Hotspur, Young Norval, Romeo, &c. 
 
 August 20th, benefit of Wyndham, while the last night of the 
 Adelphi season was on September ist. 
 
 The following interesting paragraph is taken from the Caledonian 
 Mercury of November 5th 1849 : — 
 
 " Truly, time seems to pass lightly over the head of the manager, who goes through his 
 work with all the spirit and activity of far younger men. On Monday, the 22nd of October, 
 Mr Murray finished the labour of the last season in the arduous character of Sir John Fal- 
 staff, and delivered his ' farewell address.' The next night he slept in London, where he 
 devoted his time to visiting the principal theatres and making arrangements with several of 
 the leading performers. On the following Tuesday he left London, reaching Edinburgh that 
 night by the express train. The next day the company re-assembled for the rehearsal of a 
 new comedy, and on Saturday evening (November 3rd) the winter season commenced with 
 the Merchant of Venice and the farce of Dominique. The house was extremely well attended 
 from the beginning of the evening, and at the second price crowded in all parts. No time 
 seems to have been thrown away during the recess, — much new scenery was exhibited during 
 the play, speaking highly for the abilities of the new artist, Mr Hawthorn." 
 
 Powrie appeared as Shylock, and seems to have achieved a distinct 
 success, which was fully sustained by his performances on the succeeding 
 
 * Channing, besidirs acting utility, helped in the paint room, where he afterwards acquired great fame. 
 Died April 1877, 
 
4IO Tlie Annals of the Edinburgh Stage. [1849-50- 
 
 evenings of Hamlet (November 5th), Sir Giles Overreach (November 
 8th), Macbeth, his first appearance in the character (November 12th), 
 Romeo, also his first appearance in the part (November 19th), &c. 
 
 Few changes had been made in the company this season. Cooper re- 
 appeared in the "old man " line, for which he was particularly well adapted, 
 F. A. Robinson, who played walking gentleman here during this season, 
 became afterwards well known at Sadler's Wells, and is at present * in a 
 good position in America. T. King did the heavy roles. Webster joined 
 chiefly for Scottish parts, in which he excelled ; he came from the Aber- 
 deen and Glasgow Theatres, and had previously appeared in Edinburgh 
 at Gourlay's Theatre. Vaudrey came a great deal to the front this year, 
 playing walking gentlemen, foreigners, comedy parts, and even con- 
 descending to comic singing. 
 
 The leading lady. Miss Frankland, from Birmingham, some time 
 afterwards married Mr Kinnear, a member of the Scottish Bar ; Miss A. 
 Vining, walking lady, from Weymouth, was also a new arrival. 
 
 At the commencement of the season Murray made an announcement 
 that the performances would stop at eleven o'clock, or as near that hour 
 as possible ; the hour of commencing and of half-price remained as before ; 
 but the programmes were greatly shortened. According to the news- 
 papers, this reformation proved to be acceptable to the bulk of the public, 
 and especially to the ladies. 
 
 On November 24th, a performance of the Merchant of Venice was 
 announced, with the jDart of Shylock " by that celebrated literary char- 
 acter and amateur of the drama, Mr G. H. Lewes." Lewes had 
 been lecturing at the Philosophical Institution, so Murray secured him 
 for a performance, and his appearance seems to have created considerable 
 stir. On Monday, November 26th, Mr and Mrs Donald King, Signer 
 Borrani and Patrick Corri appeared in an English version of La Sonnam- 
 bula. The next evening, Guy Mannering, with the following excel- 
 lent cast : — Colonel Mannering = Wyndham ; Dandie Dinmont = W. 
 Webster ; Henry Bertram = Donald King ; Dominie Sampson = W. 
 Cooper ; Gabriel = Patrick Corri ; Meg Merrilees= Miss Cleaver ; Lucy = 
 Miss Lee. A two act farce or comedietta generally followed such pieces 
 as Guy Mannering, the performances still being announced as terminating 
 at eleven. The Bohemian Girl and Maritana were both given during 
 
 * 1887. 
 
1849-50-] The Annals of the Edinburgh Stage. 411 
 
 this engagement, which terminated on December 8th. On the nth Rob 
 Roy was played, the tide role by Powrie, being his first appearance in 
 that part ; Bailie Nicol Jarvie = W. Webster, the latter an impersonation 
 considered by many at that time to be almost as good as Mackay's. 
 
 Powrie finished his engagement on Monday, December 1 7th, when 
 he played for his own benefit the parts of Hamlet and Roderick Dhu 
 (Lady of the Lake). Truly actors worked hard in those days ! 
 
 December 19th saw the production of the pantomime, entitled Little 
 Boy Blue ; or. Harlequin and the Goblin Gnome of the Californian 
 Gold Mines. This was written by Nelson Lee, scenery by Hawthorn and 
 Channing, and music by Alexander Mackenzie. Litde Boy Blue = Miss 
 Parker; Primrose= Miss A. Vining ; Harlequin = Maskill ; Columbine 
 = Miss Maskill, both from Sadler's Wells, their first appearance here ; 
 Pantaloon = Halford, from Theatre Royal, Newcastle, his first appearance 
 here ; and Clown = Herr Nicols Deulin.* 
 
 The eleven o'clock early closing still kept in vogue, although a five 
 act comedy generally preceded the pantomime. Sometimes a melo- 
 drama and farce took the place of the comedy ; for instance, on January 
 2 1 St, the performance commenced with the pantomime, after which the 
 celebrated melo-drama of the Rag Picker of Paris, and the whole con- 
 cluding with Monsieur Tonson. 
 
 After having completed a highly successful engagement in Dundee, 
 Powrie returned to Edinburgh on January 28th, playing on that even- 
 ing as Julian St Pierre in Knowles' five act play The Wife. 
 
 The pantomime was played for the last time on the 30th, being its 
 thirty-fifth performance. 
 
 Sir William Don, Bart., appeared as Box in Box and Cox, and Mr 
 Pygmalion Phibbs in Done on Both Sides on March ist at a garrison 
 amateur performance. He was still only an amateur, but soon afterwards 
 took to the stage, and although scarcely possessed of talent, contrived to 
 made a good deal of money in the profession, with which he was able to 
 pay off his debts. He was a man of almost gigantic stature, but well 
 made and handsome, and although only a fairly effective comedian, seems 
 to have achieved genuine success as Timothy Toodles. He died in 
 Tasmania, March 19th 1862. His Widow, Lady Don, had been a Miss 
 Emily Sanders. She continued for a good many years to undertake 
 
 * Herr Deulin, a very clever pantomimist, was playing in Drury Lane 1886-7. 
 
412 The Annals of the Edinburgh Stage. [1849-50. 
 
 starring engagements, but towards the close of her career lost position 
 very rapidly. She died in Edinburgh, September 1875. 
 
 Miss Helen Faucit opened a six nights' engagement with Julia in 
 The Hunchback on March 2nd. 
 
 The Lady of the Lake, Tom Dibdin's version, was played several 
 times during the month, on the i8th of which Macready commenced a 
 farewell engagement prior to his final retirement from the stage. On the 
 2ist he played Othello to Powrie's I ago, Miss Frankland's Desdemona, 
 and Wyndham's Cassio. On the 27th, Glover played Othello, while 
 Macready appeared as lago, and the latter's last appearance was on 
 Saturday, March 30th, when he played King Henry in the fourth act of 
 the second part of King Henry IV., and Lord Townly in the Provoked 
 Husband (first, third, and fifth acts) — a selection that might surely have 
 been improved upon. The prices during Macready's engagement were 
 4s., 2s. 6d., IS. 6d., and is. 
 
 Mr and Mrs Charles Kean commenced an engagement of nine 
 
 nights on April 15th, on which evening they produced Marston's five act 
 
 tragedy, ^/raZ/w^tire. Halbert Strathmore = Charles Kean; Sir Rupert 
 
 Lorn = W. Cooper; Henry Lorn = Vaudrey ; Brycefield — Wyndham ; 
 
 Roland = Henry Webb ; Allan = Danvers ; Katherine Lorn = Mrs Charles 
 
 Kean. Two plays produced during this engagement were announced " as 
 
 performed at the Royal Private Theatricals at Windsor Castle, before the 
 
 Queen, Prince Albert, and the Court.'' These were King Renes Daughter 
 
 and Tlie Housekeeper, the latter being on Kean's benefit and last night of 
 
 the engagement (April 24th). Murray announced upon the playbills that 
 
 as Kean had undertaken the management of " one of the principal London 
 
 theatres," this would be the last time that gentleman would be able to 
 
 appear in Edinburgh under his management. The theatre referred to 
 
 was, of course, the Princess', in which Kean was about to inaugurate that 
 
 brilliant series of revivals which render his name still famous. 
 
 For a few evenings the Theatre remained closed, and then reopened 
 on April 30th with Powrie as Octavian in Coleman's Mountaineers, his 
 first appearance in the part. 
 
 Wyndham took his benefit on May 9th under the patronage of the 
 Grand Lodge of Scodand. The Love Chase was given, with Wyndham 
 as Master Wildrake and Mrs Wyndham (formerly MissSaker), " her first 
 appearance these three years," as Constance. The comedy was followed 
 by the singing of the National Anthem, after which " Mr Wyndham will 
 
1849-50-] 
 
 The Annals of the Edinburgh Stage. 
 
 41. 
 
 have the honour of delivering an appropriate address, written by a gentle- 
 man of Edinburgh for the occasion ; " then F. Bridgman performed a 
 solo on the concertina, which was followed by the farce of P.P. ; or, the 
 Man and the Tiger. Squire Splasher = Wyndham ; Bob Buckskin = 
 Murray ; after which Vaudrey sang the " Humours of a Country Fair," 
 and the performance concluded with the melo-drama Peter Bell. 
 
 Mackenzie took his benefit on the nth May, when an augmented 
 orchestra played, among other things, Mendelssohn's Wedding March. 
 
 Miss Franklin played Pauline in Lady of Lyons for her benefit on 
 May 1 8th, Powrie supporting her as Claude. 
 
 The last night of the season was May 24th, when Murray 
 delivered the following address : — 
 
 " If not of honest Paul already weary, 
 I've just dropped in to pop another query, 
 In confidence, respectfully inquiring 
 If you believe that Murray means retiring, 
 In honest truth, or that he only tries, 
 Like other shop-keepers, to raise supplies, 
 By feigning this ' enormous sacrifice.' 
 I see no reason for his resignation. 
 You've shown no symptom of disapprobation, 
 Or voted him unworthy of his station ; 
 And though he's old, and has been many years 
 Nightly before you, yet he ne'er appears 
 Unwelcomed by your smiles and kindly cheers. 
 Can he, Othello-like, then bid farewell 
 To all his spangled troop, and prompter's bell ; 
 The spirit-stirring overture, whose din. 
 Led by Mackenzie's potent violin. 
 Yields to the drums and trumpets, which begin 
 Some tragic tale of horror — some dark scene — 
 Where Powrie storms, and emulating Kean 
 Seizes Miss Frankland, at whose dread cries 
 Brave Wyndham enters, and bold Powrie dies, 
 'Midst all the pomp and circumstances of wars, 
 Where preconcerted combats jest at scars ? 
 The farce succeeds, where Cooper, Emma Nicol, 
 Webb, and Miss Parker, all put in the sickle. 
 Reaping the genial harvest of applause. 
 Which from your willing hands their talent draws. 
 Can Murray think o'er this, and yet lay down 
 His tinsel sceptre and Dutch metal crown ? 
 
4H The Annals of tlie Edinburgh Stage. [1849-50. 
 
 Like Prospero, destroy the magic staff 
 Wherein so often he has raised the laugh 
 In ' William of the Forest,' ' Lubin Logs,' 
 ' The Tiger,' ' Mr Tomkins,' ' Newman Noggs,' 
 ' Simpson,' ' Rattan,' ' Bambino,' can he too 
 To old ' Grandfather Whitehead ' bid adieu ? 
 Will he no more your kindling plaudits seek 
 In ' Falstaff,' ' Tony Lumpkin,' ' Dominique,' 
 ' Lissardo,' ' Sir Mark Chase,' where one and all. 
 With shouts confessed, ' 'Twas merry in the hall ! ' 
 Shouts only equalled by the cheers which ran 
 To greet his ' Brave Old Country Gentleman ' ? 
 In private life, what can a fellow do, 
 Whose whole career has been so wrapped in you. 
 That your approval, and your votive wreaths. 
 Have formed the very atmosphere he breathes? 
 I stated all this to him, he but sighed. 
 And with lack-lustred visage, thus replied : — 
 ' A moment comes to every mortal, when 
 He must give place to younger, better men. 
 And the great secret in the race we run 
 Is to discover when we should have done. 
 Not vainly clinging to our mimic trade 
 Till friends may mourn o'er faculties decayed. 
 And sadly viewing, as we 'tempt the scene. 
 Merely the shadow of what once had been. 
 Like honest Dogberry, I've had my crosses, 
 And both in friends and pockets, heavy losses ; 
 Many warm hearts who used my toils to cheer. 
 And to advise them, are no longer here ; 
 Many distinguished names, which brightly shone 
 With generous kindness on my boyhood, gone. 
 ' 'Tis time to follow, and prepare for what 
 You know, dear Paul, is every creature's lot.' 
 He paused — but silence oft expresses more 
 Than ever oratory hit before ; 
 And I retired, for I thought it rude 
 Upon such serious feelings to intrude. 
 I hear it said, the manager intends 
 To-night, in person, to address his friends. 
 And as you're all impatient for Mackay, 
 I'll take my leave, trusting you'll pardon Pry. 
 For Murray's sake, you'll like him, so do I, 
 And I will say, Ay, and maintain it too, 
 You can't regard him more than he does you." 
 
1850.] The Annals of the Edinburgh Stage. 415 
 
 The Adelphi season opened on June 15th 1850 with Grandfather 
 Whitehead. A great many burlesques came out during the summer, the 
 first in order being a travestie of Macbeth, commencing July 8th, and 
 running fourteen nights. Valentine and Orson, Ivanhoe, and Fair One 
 zuith the Golden Locks, all followed, and the Adelphi closed on the 28th of 
 September. 
 
 The season, however, was carried on at the Royal, where, on 
 September 30th, Buckstone and Mrs Fitzwilliam appeared for twelve 
 nights, closing on October 12th, when Murray gave his customary 
 address, from which the following is an excerpt : — 
 
 " Some two or three and thirty years since, when I first tried my 'prentice han' on 
 these addresses, which you have ever so good-naturedly welcomed, I delivered one in the 
 character of Sergeant Kite, soliciting your aid in a time of great depression. The conclusion 
 ran thus : — 
 
 ' Cheered by these hopes, your sergeant keeps the field, 
 Though sorely pressed, he yet disdains to yield ; 
 As Jacques says, to play you many parts, 
 Attention, ever is his wish to please, 
 Till time shall say, " Old Murray, stand at ease.' " 
 
 Time has kept his word, as he generally does in these matters, and I trust I have been found 
 equally faithful in the promised attention to the duties of my situation. I must solicit your 
 patience a few minutes more, while I repeat my acknowledginents for the success of this 
 season, which — owing to your support, the attractions of Mr Aldridge, Mrs Fitzwilliam, and 
 Mr Buckstone, aided by the talent and kind exertions of my regular company, which I feel 
 great pleasure in thus publicly acknowledging ; and last, not least, my clever friends the 
 monkeys — has been the most profitable I have known for many summers. You will smilo, 
 ladies and gentlemen, when I tell you that my engageinent of the monkeys was swayed by a 
 remembrance of my earliest master, John Kemble. Seeing me depressed one evening by 
 the difficulties which then surrounded the Theatre, he kindly said, ' Pshaw ! Will, don't 
 despond ; something will start up, either a great actor, or a learned dog, or a facetious 
 monkey, and it's of little consequence which, so long as the public is pleased.' His words 
 recurred to me when the monkeys were proposed and engaged, and as I saw the crowds they 
 attracted, I could not help thinking 
 
 ' 'Twas the sunset of life gave him mystical lore, 
 And coming events cast their monkeys before.' 
 
 On Monday, ladies and gentlemen, I purpose leaving for London, in hopes of making such 
 arrangements for my last season as may merit the continuation of your favour, and when the 
 final moment comes, and my professional place shall know me no more, I shall be amply 
 repaid for all my labours, if you now and then bestow a thought upon your old and faithful 
 servant, and with the madcap Prince of Wales, kindly think 
 
 ' Vou could have better spared a better man.' " 
 
41 6 The Annals of the Edinburgh Stage. [i 850-1. 
 
 The following and last season of the Royal under Murray's manage- 
 ment opened on November 9th with The Honcymoott and Dibdin's 
 Waterman. Murray gave an address commencing as follows : — 
 
 " Prythee, Mackenzie, your Cremona stop, 
 While I solicit custom for the shop — 
 I'll be as brief as possible — and then 
 Resume your polkas and quadrilles again. 
 I own inward fears my old heart flutters 
 While taking, for the last time, down my shutters 
 And opening our mimic store. I court 
 For my concluding winter your support ; 
 You'll deem them, per'aps, unnecessary fears 
 After a servitude of forty years. 
 But there's a saddened feeling few can stifle 
 At finally performing e'en a trifle ; 
 Then wonder not your manager looks blue 
 As he approaches a divorce from you— 
 And let me add, friends, from your pockets too. 
 They say, the Income-tax next session ceases, 
 I'm sure mine will, when I give up my leases ; 
 Losing the power to draw bills each night, 
 Which your good nature honours before sight." 
 
 The company which Murray had got together was very much the 
 same as that of the preceding season. On November iith Macbeth. 
 Macbeth = Powrie ; Rosse= Herman Vezin, from the Theatre Royal 
 Southampton, his first appearance here. November 13th, Rob Roy, the 
 part of M 'Stuart by Ed. Saker, and Rashleigh by Wyndham. 
 
 The pantomime this season was Harlequin Christinas ; or, the Fairy 
 of the Mistletoe Bough. Sam Cowell commenced an engagement of a few 
 nights on January 29th ; and on March 3rd G. V. Brooke appeared as 
 Othello, with Powrie as I ago, Wyndham as Cassius, and Miss Frankland 
 as Desdemona. 
 
 Miss Glyn made her first appearance in her native city on March 
 17th, playing Queen Catherine to the Cardinal Wolsey of E. Glover. 
 After playing a few nights Miss Glyn was followed by Miss Helen 
 Faucit ; and on April 14th an announcement appeared in the bills that 
 owing to very unexpected circumstances the reappearance of Mackay on 
 the stage had been rendered imperative. Accordingly for that night he 
 played his old creation of the Bailie to Powrie's Rob Roy and Miss 
 Rebecca Isaacs' Diana, The house was crowded upon his reappearance. 
 
1850-1.] The Annals of the Edmburgh Stage. 417 
 
 and when he appeared on the stage he was greeted with enthusiastic 
 cheers. At the conclusion of the piece he addressed the audience as 
 follows : — 
 
 "Ladies and Gentlemen,— I find I cannot adequately express my feelings on this 
 occasion. When I left the stage, I little dreamt I should ever appear on it again. Circum- 
 stances, however, have willed it otherwise, but your kind reception to-night convinces me 
 that you sympathise with me.* (Loud cheers.) Your applause has been sincere, hearty, 
 and kind — very kind indeed. I have often received your applause and enjoyed your smiles, 
 for which I have always been grateful, and never more so, I assure you, than on the present 
 occasion. If time be granted me, I will bring forward some of my old Scottish characters 
 during the season ; and I trust that my declining efforts will be received with the same 
 kindness with which you have always received my youngest." 
 
 Mackay took his benefit on May 6th with The Heart of Midlothian and 
 Redgauntlet. 
 
 The last night of the season was on May 28th 1851, when Murray 
 took his last benefit in the Royal. 
 
 The programme was as follows : — After the comedy of The Honey- 
 moon, " Mr C. Mungall will give his celebrated delineation of the Grecian 
 statues, after which Mr Murray will have the honour of taking leave of his 
 friends and patrons as manager of the Theatre Royal. Mr H. Webb 
 will then sing the comic song, " The Grand Exhibition," and Mr F. 
 Bridgman will perform a solo on a popular American melody on the 
 concertina, being his last appearance in Edinburgh previous to his de- 
 parture for Germany ; the whole to conclude with Cramond Brig. Jock 
 Howleson = Mackay." 
 
 Murray's speech was as follows : — 
 
 " Ladies and Gentlemen, — Shakespeare has been truly said to have written for all time, 
 and I believe there are few occasions on which a man cannot profitably avail himself of the 
 language of that immortal bard. Thus, on the present occasion, I shall, slightly varying the 
 text, commence my address in the words of Old Adam in As You Like It, saying, — 
 
 ' From nineteen years of age till now, threescore, 
 Here lived I, but now live here no more. 
 At nineteen years many their fortunes seek ; 
 But at threescore, it is too late a week : 
 Yet fortune cannot recompense me better, 
 Than to leave honestly, and no man's debtor.' 
 
 That recompence your kindness has secured to me. I make no claims to merit as an actor 
 
 Mackay had lost all or nearly all his money. 
 2 D 
 
41 8 The Annals of the Edinburgh Stage. [i 850-1. 
 
 or a manager, but I own I am proud of the unvarying and inflexible integrity with which your 
 support has enabled this establishment to meet its engagements under the most adverse and 
 trying circumstances ; an integrity equalled by few theatres — surpassed by none. A some- 
 what early advertisement, over which I had no control, made my proposed retirement from 
 management so long a matter of public notoriety, that, I fear, like other ' coming events, it 
 cast its shadows before,' and has so frequently saddened and tinged the tone of my late 
 addresses, that you must have likened me to Prior's Thief, who, on his road to the gallows, 
 
 'Adjusted his halter, and traversed the cart, 
 Full often took leave, yet was loath to depart. ' 
 
 I own the resemblance — I am extremely loath to say farewell, deeply reluctant to part with 
 those who have been for two-and-forty years my 
 
 ' Very constant and approved good masters.' 
 
 The very walls of this old building add to my regret, and by their ' whispers of the past,' 
 recall bygone years, when the grey-headed gentleman before you was first given, a mere 
 stripling, to your notice by a much-loved and respected sister. ^Vith such remembrances, 
 
 * As o'er the dusky furniture I bend. 
 Each chair awakes the feelings of a friend.' 
 
 There is not a worn-out buckler behind these old scenes which does not recall, as if by 
 instinct, and ' instinct is a great matter,' some thoughts of honest Jack Falstaff — ' Jack to 
 you, but Sir John to the rest of the world ' — not a red wig that does not laugh in my face at 
 the simplicities of ' William of the Forest,' or the mad tricks of that imp of mischief, 
 ' Tony Lumpkin ' — not a grey hair that does not embody some thoughts of ' poor old Grand- 
 father Whitehead.' The very boards beneath me ' prate of my whereabouts,' and speak to 
 me of the years when I trod them in the presence of a Siddons, an O'Neill, the Kembles, 
 the Keans, Fawcett, Young, Macready, Bannister, Dowton, Johnstone, Emery, Liston, 
 Mathews, Terry, Braham, and though last not least, those kindred spirits of song. Miss 
 Stephens and your own Wilson, who poured forth the heart-stirring ballads of the ' Land of 
 the mountain and the flood,' with all the fire of genius and the very soul of melody. With 
 these vivid recollections, and, I trust, not faded powers, it has been asked of me why I 
 retire ? I reply, as I did at the conclusion of last winter, your applause has alone given a 
 value to my performances, and I would not linger here till the infirmities of age might 
 so diminish my claims to your approbation, that my efforts would only ' claim respect for 
 what they had been.' I have struggled through six of Shakespeare's ' Seven ages ' — have 
 been the ' whining schoolboy ' — ' the sighing lover ' — •' the bearded soldier ' — ' the justice,' 
 
 ' In fair round belly with good capon lined ' — 
 
 have pourtrayed 'the lean and slippered pantaloon,' but would not pain you by realising 
 that ' last scene of all,' the 
 
 ' Second childishness, and mere oblivion, 
 Sans teeth, sans eyes, sans taste, sans everything." 
 
 I fear my over tendency to prattle this evening, savours a little too much of the old man 
 already ; but I must crave you to bear with me a few minutes longer, while I again ' traverse 
 my cart,' and express my great gratification at having my last season here aided by the dis- 
 
185 1.] The Annals of the Edinburgh Stage. 419 
 
 tinguished talents of my kind and valued friend Mackay — long may his graphic and inimit- 
 able delineations of Scottish character be spared to us. To the whole body of my performers 
 I owe my heartfelt thanks for their constant kindness and assistance. I shall leave them 
 with great regret, and the most ardent wishes for their happiness and success ; and to 
 every member of this establishment, high and low, I publicly tender my thanks. To that di.s- 
 tinguished master of his art, Mr John Kemble, and his illustrious sister, Mrs Siddons, my 
 youth was deeply indebted. My respectful and grateful veneration for the memory of my 
 patron, Sir Walter Scott, is too well known to need repetition. There is another person, 
 not so well known to you, ladies and gentlemen, but to whose instructions I owe so much, 
 that I should be highly ungrateful if, on an occasion like the present, I did not express my 
 thanks to my earliest master, Mr Charles Farley of London, to whose exquisite taste and 
 great ability in the production of spectacle, the Theatre Royal, Covent Garden, owed much 
 of its prosperity. I am sure it will please Mr Farley to find that his favourite pupil grate- 
 fully remembers and acknowledges his kindness. One name yet lingers on my tongue, in 
 any compliment to which I am sure you will most cordially join, when I mention that of the 
 late Sir William Allan. He honoured me with the most brotherly affection, guided me by 
 his counsel, often aided me by his transcendent talent, and I own it was his death which de- 
 cided my resigning management. And now, ladies and gentlemen, I have but one duty to 
 perform, though how to discharge that duty — the expression of the debt of gratitude I owe 
 to you— I know not. The unfading popularity you have honoured me with for upwards of 
 forty years has been, in its duration and intensity, almost, if not quite unparalleled in 
 theatrical annals. I proudly, gratefully acknowledge it, though I feel that I owe it to your 
 kindness more than any merit of my own. I boasted at the commencement of this address 
 that I should retire ' no man's debtor.' I spoke hastily, and ask you to excuse me — I must 
 to my latest moments remain yours, unless, in mitigation, you can think with Milton, that 
 
 ' A grateful mind 
 By owing owes not, but still pays — at once 
 Indebted and discharged.' 
 
 Ladies and gentlemen, if, in the course of my long management of your Theatre, I have to 
 any one given offence, I respectfully ask their pardon ; and with the .most sincere prayers 
 that every blessing and happiness may long be showered upon you and yours, your old and 
 faithful servant sighs forth — Farewell. 
 
 Murray's last season at the Adelphi opened on May 31st 1851 with 
 Bclphegor the Mountebank, which was then played for the first time here. 
 
 On June 7th The Cotton Spinners; or, all that Glitters is not Gold, 
 by Thomas and J. M. Morton, from the London Olympic. Sir Arthur 
 Lassell = Lyons ; Mr Jasper Plum = W. Cooper ; Stephen Plum = Wynd- 
 ham ; Frederick Plum = F. A. Robinson; Toby Twinkle = H. Webb ; 
 Harris = Charles Lloyds ; Lady Leatherbridge = Miss Cleaver ; Lady 
 Valeria Westendleigh = Miss J. Bassano ; Martha Gibbs = Miss Parker. 
 
 July 22nd, Love in a Maze, by Dion Boucicault. C. D. Pitt joined 
 the company on September 4th, from which date until the final evening 
 of the season — October 22nd — nothing of note took place, 
 
420 The Annals of the Edinburgh Stage. [185 1. 
 
 October 22nd, "I-ast night of the present Company." 
 
 Mr Murray's 
 
 FAREWELL BENEFIT 
 
 AND 
 
 LAST APPEARANCE, 
 
 When will be performed 
 
 Sheridan's Comedy, in five Acts, entitled 
 
 THE RIVALS; 
 
 Or, a Trip to Bath. 
 
 Sir Anthony Absolute = Murray ; Captain Absolute = ^Vyndham ; Acres = Lloyd ; Sir 
 
 Lucius O'Trigger = Josephs ; Falkland = Edmund Glover ; David = Saker ; Fag = T^yons ; 
 
 Coachman = Kimber ; Lydia Languish = Miss Parker ; Lucy = Miss Marian ; Mrs Mala- 
 
 prop = Miss Nicol ; Julia = Miss Frankland. 
 
 At the end of the comedy a favourite fantasia on Scotch airs on the violin by Mr 
 Alexander Mackenzie. To be followed by the favourite scene from Sir Walter Scott's novel 
 of St Ronan's Well, entitled The Cleiknm Inn. Francis Tyrrel = Bellair ; Captain O'Tusk 
 = Wyndham ; Mr Bindloose = G. Webster ; Meg Dodds = Mackay. 
 
 After which Mr Murray will have the honour of delivering 
 
 His Farewell Address. 
 
 The whole to conclude with Shakspere's drama of Catherine and Petruchio. 
 
 Petruchio = Powrie ; Gremio = H. Webb ; Baptista = Channing; Hortensio = Bellair 
 
 Music Master = Lyons ; Taylor == Josephs ; Biondello = Saker ; Cook = Selwin ; Catherine 
 
 == Miss Frankland ; Bianca = Miss J. Bassano ; Curtis = Miss Nicol. 
 
 Previous to the performance of Catherine and Petruchio, Murray 
 appeared before the curtain, and amid the most unanimous expressions of 
 enthusiasm from a magnificent audience, delivered the following address : — 
 
 " Ladies and Gentlemen, — It was within these walls that, on the loth of November * 
 1809, I had the honour of making my first appearance before you, and it is within the same 
 walls that I again appear before you, endeavouring to express to you the deep and grateful 
 sense I entertain of all the kindness, the consideration, the forbearance you have evinced 
 towards me during my long and modey course of two-and-forty years, and to perform the 
 melancholy duty of saying farewell to those I have so much reason to love and to respect. 
 As many may remember, my earliest efforts here were anything but successful, and I have 
 great reason to rejoice that they were not. My father was an actor of distinguished talent 'in 
 London, and so great a favourite with the public and his professional brethren, that on my 
 entrance into the Theatre Royal, Covent Garden, under the auspices of Mr Kemble, I was 
 so petted and favoured on my father's account, that I came before you with all the levity and 
 conceit natural to a boy of nineteen. But your frowns, and the darkness of my reception 
 here, taught me to know myself, and to discover that I was not the ' admirable Crichton ' I 
 had vainly imagined. With determined industry, and doggedly, as Dr Johnson says, I set 
 myself to remedy my defects. You, for a time, persisted in your disapprobation — I was 
 resolute in my efforts to improve ; you hissed — I laboured, until I fairly won your smiles, 
 and you began kindly to regard the stripling who strove so unremittingly to please you. To 
 
 * This is not correct ; his first appearance was on November 20th. See page 260. 
 
1 85 1.] The Annals of the Edinburgh Stage. 421 
 
 be brief, I rose in your favour. Painful circumstances made me the manager of your theatres; 
 and while, like others in my situation, I could wish undone many things which have been 
 done, and have left unattempted many others I could have wished performed, yet, consider- 
 ing the names of the great artists I yearly brought before you, the talents of the resident 
 company, the merits of the pieces annually produced, and the manner in which they were 
 brought forward, I do not think the court before which I have the honour of pleading will 
 refuse me their verdict of approbation. To my successors in the management of the two 
 theatres I wish, sincerely wish, every prosperity they can wish themselves. They will profit 
 by my blunders ; they are both in the prime of life, both of distinguished talent in their pro- 
 fession, both highly popular ; and I earnestly desire for them 
 
 ' Calm seas, auspicious gales, 
 And sail so expeditious, that shall catch 
 Their mimic fleets far off ' — 
 
 wafting them into the havens of a golden fortune. To my professional brethren I fee 
 deeply indebted for their kind and gratifying aid on this occasion. To Mr Glover I owe 
 many acts of liberal kindness, and I feel great pleasure in acknowledging my obligations 
 towards him. By Mr Lloyd's kind assistance I am peculiarly obliged, as it proves the 
 cordial feelings of regard which exist between us. I have further to thank him for his great 
 courtesy in postponing the opening of the Theatre Royal until after the engagement of the 
 Miss Batemans here. To your distinguished favourite, Mr Powrie, I owe many, many thanks. 
 But what shall I say to my old, tried, and valued friend, Mr Mackay, who, as he once by his 
 talents saved the Theatre Royal, has this season, by the attraction of his unfading abilities, 
 greatly diminished the losses the Crystal Palace had entailed upon me. 
 
 ' We have clamb the hill thegither, 
 And now are toddlin' down,' — 
 
 but I earnestly hope that while we remain on the pages of 'the world's volume,' the Bailie 
 and the Major may cling together in the firmest bonds of friendship, for the sake of ' auld 
 lang syne.' 
 
 " To the performers, orchestra, and servants of this establishment, I return my best 
 thanks for their constant kindness to me, and cannot refrain froin expressing the great pride 
 and gratification I feel at the splendid testimony of their affection and regard with which they 
 honoured me this morning ; and also offer my grateful acknowledgments to the trustees and 
 shareholders of this Theatre for their unvarying liberality and attention, and I trust they will 
 not think that the reputation of the Adelphi has suffered in my hands. 
 
 ' And now, my kind and liberal patrons, 'tis time for me to furl my professional sails 
 and say farewell to those to whom 
 
 ' AH my service 
 
 In every point twice done, and then done double. 
 
 Were poor and single business to contend 
 
 Against the honours deep and broad ' 
 
 you've showered on me. Some of my friends have led me to hope that rest and retirement 
 may so restore me to my former self, that I may occasionally revisit the ' glimpses of our 
 theatrical moon.' Should that hope be denied me, and this, indeed, be the last appearance I 
 shall ever have the honour of making before you, be assured, that though the years of your old 
 servant be allowed to ' stretch into extremest age,' the last, the most cherished worldly recol 
 lection that trembles on his fading memory, will be the evenings he has spent in your service 
 
422 The Annals oj the Edinburgh Stage. [1851. 
 
 and, above all, that in which he now again thanks the brilliant assemblage before him for 
 many, many years of kindness, and with deep, respectful, and fervent gratitude, bids you — 
 Farewell." 
 
 According to the published account of W. F. Lloyd, the comedian, 
 when Murray retired from the stage he was not only in bad health, a fact 
 which he himself stated, but was so thoroughly tired of his profession and 
 everything connected with it, that he gave away his private wardrobe 
 to his friends, and burnt every document that reminded him of his long 
 connection with the boards, including a beautifully kept and interesting 
 diary extending over a period of twenty-one years. This may or may not 
 have been the case, but it is an undeniable fact that Murray fulfilled engage- 
 ments both in Aberdeen and Dundee after he had retired from the boards 
 in Edinburgh. He did not require to do this for the sake of money, as 
 he was quite independent, so he must surely have felt some pleasure in the 
 work, or he would not have broken in upon his newly acquired rest so 
 soon. There is no doubt that he had grown more and more of a morose 
 and melancholy disposition as age crept upon him, and among other 
 curious phases of character which distinguished him, he had a constant and 
 ever increasing dread that bankruptcy would overtake him. Discipline 
 and routine were throughout his career inseparable companions. The 
 affairs of the Theatre were executed with the regularity of a Government 
 office ; rehearsals, treasury, and all the other duties were faultlessly looked 
 after, and woe betide the luckless individual who dared, either through 
 negligence or any other reason, to interfere with the regular working of the 
 Theatre. It will easily be conceived that all these traits in his character, 
 coupled with an austere demeanour, led many people to judge him harshly 
 and speak of him in far too severe a strain. To actors he was generally a 
 warm friend ; he did not give enormous salaries, but what he did pay was 
 paid to the day and hour ; although he seldom spoke to the members of 
 his company, he invariably treated them with politeness and gentlemanly, 
 if exacting, courtesy, which he fully expected should be reciprocated. 
 As- illustrating this, it may be mentioned that it was his custom never to 
 re-engage a member of his company for another season unless the member 
 in question went through the formality of " writing in " to request a 
 renewal. 
 
 Towards dramatic authors his conduct was perhaps not so estimable. 
 What Planche openly states regarding Murray's conduct with regard to 
 the production of Charles XII. is undoubtedly true, and probably was not 
 
185 I.] The Annals of the Edinburgh Stage. 423 
 
 a solitary case of the same sort of thing. To the public Murray, all 
 through his long connection with the Scottish stage, was a faithful, un- 
 tiring, and devoted servant ; and to him almost entirely, is due the high 
 status which the Edinburgh stage maintained for so long among provincial 
 theatres. 
 
 Lloyd, in speaking of the long time he had served under Murray, says : 
 — " During the whole of the time not one angry word passed between us — 
 a pretty good proof that I could not have been a very bad servant or he 
 a very bad master." Murray took great interest both in Lloyd and in 
 Montague Stanley, giving them constant and valuable advice in acting. 
 " ' My two boys,' Murray used to call us," Lloyd continues in his Auto- 
 biography, " but we never presumed upon his partiality for us, seldom 
 addressed him unless spoken to, and never held out a hand to shake unless 
 he had first proffered his own ; for, be it understood, he was a peculiar 
 man — remarkably staid, as a rule frightfully low-spirited, very i^roud, but 
 withal a perfect gentleman in every sense of the word — the Napoleon of 
 managers, a most strict disciplinarian, straightforward and honourable in 
 all his dealings, and a thorough man of business." 
 
 One peculiarity of Murray's was, that he insisted upon every member 
 of his company acting at rehearsal exactly as they intended to do at night. 
 Lloyd was one of the few who were allowed to break through this rule : 
 as for Murray himself, he often went through his part with the utmost care 
 and elaboration while suffering severe bodily pain — and all in order to set 
 a good example to his company. 
 
 Benson Hill relates of Murray in 1826 the following anecdotes : — 
 " Our Ellangowan (Bertram)* had once accompanied our theatrical Viceroy on a sporting 
 excursion to the foot of the Highlands. After shooting till day declined, they put up at and 
 with an inn for dinner ; which ended, the elder said to the waiter with much dignity, 
 " ' Have you a playhouse here, my man ? ' 
 " ' Ech, fine, sir ; oot by, jist ! ' 
 
 " ' Ah, then maybe we shall kill an hour or two by patronising the poor devils. Can 
 they do things decently, d'ye know ? ' 
 
 " ' Deed do they, vera, conseedrin' ; the hoose is but sma', and the creturs pickit up 
 onywhere. Ye canna expec' things to be preceesly as gude as in yer ain Theatre o' Edin- 
 burgh, Mr William Murray.' 
 
 "The manager, who believed \\\ms,t\{ incog., was much tickled by this recognition. 
 " A less agreeable incident befel him, on some journey, at the house of an old ' leddy,' 
 too deaf to have caught his name. She, as a child, had actually seen Prince Charles, and 
 dilated enthusiastically pn his misfortunes. 
 
 * Thorne. 
 
424 The Annals of tlie Edinburgh Stage. [185 1 
 
 " ' Open foes, ye'll allow,' said she, ' are o'er eneuch, sir, for a doomed race ; but their 
 worst enemies were pretended freens. And the maist ungratefu' traitor that ever disgraced 
 the cause was that fause loon. Secretary Murray.* Curses on the name ! ' " 
 
 Besides his undoubtedly great abilities, both as actor and manager, 
 Murray claims attention as a successful dramatist. He adapted an inter- 
 lude from I/ow to die for Love, which he called Diamond Cut Dia^nond. 
 Cramond Brig, Mary Queen of Scots, Gilderoy, Rhomeo aud Guilietta 
 (a burlesque on Romeo and Juliet), were among some of his successful 
 efforts. Many of his adaptations were never claimed by him — Oliver 
 Twist, for instance : and although George Daniel states Francis Rey- 
 nolds to be the author of No, there seem to be some grounds for 
 believing that Murray really wrote it. In writing these pieces, Murray 
 does not seem to have aimed at literary excellence ; but, on the other 
 hand, his acquaintance with the stage and the company he was writing 
 for was so intimate that his plays always proved successful. At the same 
 time it should be mentioned that he was not above borrowing (without 
 acknowledgment) pretty freely from other authors. From a literary 
 standpoint his famed " farewell addresses" stand quite alone, not only as 
 productions of Murray's, but as models of such things. From first to 
 last they are witty, concise, neat, and always appropriate and in good 
 taste, and when aided by the wondrous humour and skill of the speaker, 
 must have proved irresistible. 
 
 Murray was born about 1 790. He was twice married : firstly, to 
 Miss Dyke (sister of Mrs Thomas Moore), and secondly, to Miss Gray 
 (a member of the company, and who died at an advanced age during 
 the early spring of the present year, 1888). He left several children : 
 one daughter became an excellent reader ; and a son, Henry (now dead), 
 tried the stage pretty late in life. 
 
 Murray's death was very sudden. He had retired to live in St 
 Andrews, and was taken ill returning from a party on May 5th 1852, and 
 died in a few hours. 
 
 * W. H. Murray was a grandson of the Pretender's Secretary. 
 
SIXTH PERIOD, 
 
 1851 to 1888. 
 
CHAPTER XXII. 
 
 THE NEW MANAGEMENTS. 
 
 HE winter season of 185 1-2, which now commenced, ushered in 
 a new theatrical era in Edinburgh. The monopoly which 
 Murray had so long and so successfully maintained was, by his 
 retirement, broken up ; many old things were about to pass 
 away, and new ideas, new economy in the management, and young 
 blood, were to bring about in the course of a few years a complete 
 change in the dramatic life of Edinburgh. It is not forty years since 
 Murray retired, and yet what enormous changes have taken place since 
 that event ! To those who remember the old stock system which pre- 
 vailed even twenty years ago, it is not so difficult to appreciate the 
 greatness of the changes that have been going on ; but for the younger 
 generation of playgoers, who have known nothing of stock companies, 
 it is scarcely possible to estimate the greatness of the difference. Pro- 
 bably fewer changes in dramatic economy, routine, and administration 
 took place during the whole forty-two years of Murray's connection with 
 Edinburgh than did during any five years that followed his retirement. 
 Wyndham's reign was brilliant in many respects, although the times 
 were such that only the most skilful and clever management was able to 
 follow the fluctuations in dramatic supply and demand. With the exten- 
 sion of the railway system, Edinburgh, in common with other provincial 
 towns, ceased to have an existence as a local centre, and became more and 
 more an extension or chapel of ease to London. In Art, whether paint- 
 ing, music, or drama, this was particularly the case, and so much so in the 
 histrionic line, that in the present age, and for many years past, our 
 theatres have been nothing more nor less than buildings Vv'ith resident 
 manager, orchestra, scene painter (sometimes), carpenters, and money 
 takers, in which performances are given by companies from London. 
 
428 The Annals of the Edinburgh Stage. [1851-2. 
 
 The history, not only of the past eighteen years, when travelHng com- 
 panies have reigned supreme, but of the last fifty years of the drama, has 
 yet to be written.* In the present work no more can be done than to 
 note the local changes as they occurred from time to time. 
 
 The greater part of Wyndham's reign was in a transitional period, in 
 which, as already said, old things were passing away and new things 
 making their appearance from time to time ; the finger of fate, or shall we 
 say, the barometer, pointing steadily to the word "change." 
 
 On the retirement of Murray the theatrical monopoly was divided, 
 the Royal passing into the hands of Lloyd, the comedian, while the lease 
 of the Adelphi was secured by Wyndham. 
 
 The former house was the first to open its doors, and on the 22nd 
 of November, after much speculation had been indulged in by play- 
 goers and the press alike as to the probable success of two Theatres, a 
 large audience assembled in Shakspere Square to patronise the new 
 management. Seldom had a more brilliant scene been witnessed within 
 the old walls. The following account of what took place is from the 
 pages of a contemporary journal called The Theatre : — 
 
 " The interval between the opening and the rising — or rather drawing — of the curtain 
 was spent by the audience in examining the new and handsome decorations, which do great 
 credit to the taste of Mr Lloyd, and in lustily cheering the more distinguished visitants as 
 they arrived. The entrance of Mr Glover, the late co-partner of Mr Lloyd, and now sole 
 manager of the Prince's Theatre, Glasgow, was announced by the utterance of his name from 
 hundreds of voices, and several rounds of applause, which he acknowledged with a standing 
 bow ; but we were particularly gratified with the enthusiastic reception given to Mr Wynd- 
 ham, the manager of the rival theatre, whose attendance evinced the existence of cordiality 
 and friendship between those whose position tends to produce estrangement. The whole 
 Theatre rose on his appearance, and for several minutes the huzzas were absolutely deafen- 
 ing. To these tokens of esteem and regard Mr Wyndham feelingly responded ; and 
 scarcely had the echoes died away ere the curtain divided and discovered the entire company 
 assembled on the stage in appropriate arrangement. The Queen's anthem was then sung 
 with great animation, after which Mr Lloyd stepped forward and delivered the following 
 speech amid great applause : — 
 
 'Ladies and Gentlemen, — Accept my warmest thanks for this kind, very kind, 
 patronage this evening, and for your hearty welcome to your old friend. (Applause.) I ap- 
 pear before you, I confess, under great disadvantage, when I remember how soon I have 
 succeeded to my illustrious predecessor. I am, therefore, I feel, totally unable to address 
 you in the manner to which you have been accustomed, for 
 
 * It is to be hoped that William Archer, the one man living who has shown himself capable of such 
 work, will at some early date take up the subject in a manner worthy of its importance. 
 
1 85 1 -2.] The Annals of ike Edinburgh Stage. 429 
 
 ' Rude am I in speech, 
 And little blessed with the set phrase of Murray.' 
 (Laughter.) I therefore request you to understand that I feel I am not succeeding to the 
 throne of any ordinary theatrical monarch, but the Napoleon of men — a good general too, 
 and an excellent minister of finance. (Laughter and applause.) I therefore must humbly 
 request you to receive this, my maiden speech, as a mere business one, and only let me off 
 with as small a share of pity for my presumption as possible, and I promise to learn my 
 lesson better in future. In the first place, ladies and gentlemen, may I hope that the altera- 
 tions and improvements meet your approbation. (Great cheering.) We have a great deal 
 to do yet, but considering that we have had but six weeks, or little more than that, I think 
 you will do us the justice to say that we have not been idle. (Cheers.) In the next place, 
 you will have to sit in judgment on the new performers, who will appear before you to-night 
 for the first time. I request you will give them a patient hearing ; sincerely trusting that 
 your verdict will be in their favour. Remember the peculiarities of new actors require some 
 time to gain on the public; but only favour them with a patient hearing, and I have no doubt 
 that in time they will become favourites. Perhaps it will not be out of place now to tell you 
 something connected with a circumstance of the same sort which occurred to myself when I 
 had first the honour of appearing before you upwards of twenty years ago. I remember the 
 morning after I appeared going to the news-room to read the criticisms — (a laugh) — fancying 
 that something would be said about myself, for I thought myself much more clever than I do 
 now. I took uj) the paper and commenced thus : — ' Last night a Mr Lloyd made his first 
 appearance, and we hope it will be his last. He is supposed to be a comedian. Well ! 
 what shall we say of that — the least said the soonest mended. N^.B. — Smacks sail from 
 Leith to London twice a week ! ' (Great laughter and applause.) This was certainly a very 
 polite hint for me to depart, but, as Mr Mathews says, ' I diddled.' No, ladies and gentle- 
 men, I persevered, and by industry and your kind encouragement, I gradually grew into 
 your favour. I trust, therefore, I shall long continue so ; and only confer the same favour on 
 my performers this evening, and you will grant an additional obligation on your obedient, 
 grateful .servant.'" 
 
 Thus wa.s the opening under the new management signalised by 
 every appearance of success, a condition which, unfortunately, was not 
 destined to continue. Lloyd in his " Autobiography " gives the mis- 
 fortunes connected with his management in the following brief order : — 
 
 " No. I. — My opening night had nearly proved a closing one as well. Half an hour 
 before the time for opening the doors, a smell of burning was perceived on the stage, and 
 smoke was seen issuing from between the lining of the stage private box and the lining on 
 the stage side of it. This space had been filled up with sawdust to deafen the sound, and 
 somehow or other it had caught fire. The lining next the stage was immediately torn down, 
 when the sawdust was discovered to be in a red glow, which the sudden admittance of air 
 caused to burst into a flame. Fortunately, however, we were soon able to get this extin- 
 guished, and after several bottles of lavender water had been thrown about to destroy the 
 smell of fire, the doors were opened. No. 2. — I had a company upwards of one hundred 
 strong, with salaries ranging from ^i to £,\2 per week. No. 3. — Very ominous. My 
 opening piece was Used Up. No. 4. — My law agent's name was Bringlov, and he lived in 
 Walker Street." 
 
430 The Annals of t lie Edinburgh Stage. [185 1-2. 
 
 There is no doubt that the company Lloyd had engaged was un- 
 necessarily large, besides which it was badly selected. Several lines of 
 acting had two and even three representatives, while others were with- 
 out a single exponent. Scottish characters, for instance, were entirely unre- 
 presented. The orchestra employed under A. Mackenzie was an unusually 
 large one, consisting of twenty performers, besides which there were 
 five scene painters, headed by Wilson. Used Up was the opening piece, 
 and The Village Nightingale, which followed, was played for the first 
 time here. Harcourt Bland, H. Webb, and Miss Eliza Nelson played in 
 the latter. 
 
 On the 25th, Miss Fanny Vining, the leading lady, made her first 
 appearance as Constance in the Love Chase, a performance which gained 
 her considerable applause. 
 
 On December 3rd, the " American tragedian," Davenport, appeared 
 as " The Stranger," being his first time of playing in Scotland ; he made 
 a decided impression — one critic remarking that Macready's mantle had 
 descended upon him. 
 
 Lloyd's bad management began very soon to show itself. Mrs 
 Weston only appeared once ; Misses Vining, Manners, Leslie, and Bland 
 all left very soon after the season opened. Morgan and Wentworth, 
 the leading men, only appeared a few times during November and 
 December, and then left. Brindal seems to have been a failure, and so 
 his parts were given to others. In place of these, new engagements were 
 made ; Miss Mortimer (Mrs Billington) joined as leading lady in place 
 of Miss Vining. Henry Haigh, tenor, came over from the Adelphi. 
 Billington (now of Toole's company) joined as walking gentleman ; Fred 
 Lloyd, the manager's son, and a promising comedian, also came to swell 
 the already too full ranks along with Bruce Norton, a good Scottish and 
 heavy actor from the Surrey Theatre. Wentworth and Morgan being 
 gone, the leading business was chiefly in the hands of Harcourt Bland 
 and Bruce Norton, both capable actors. Bland was a fine, tall, hand- 
 some man, and made a most gentlemanly light comedian and excellent 
 juvenile tragedian. His Macduff, Robert Macaire, Miles Bertram, and 
 Mercutio, were all more than ordinarily good performances, and he was, 
 in addition to his histrionic abilitie.s, a man of considerable reading and 
 scholarly attainments. He settled in Glasgow as a teacher of elocution, 
 and died there iSth November 1875. His real name was Beatty. Bruce 
 Norton was a very versatile actor. He played Macbeth, Shylock, Othello, 
 
1 85 1-2.] The Annals of the Edinburgh Stage. 431 
 
 and similar parts with great effect, and his melo-dramatic parts were allowed 
 to be first-rate, while his acting of Scottish characters, at a time when 
 George Webster, Gourlay, Mungall, Watt, and the great Mackay were 
 all living, was considered second almost to none. Besides these lines, 
 he used to play eccentric comedy and burlesque, and on one occasion at 
 least he assumed the role of Joseph Surface. His faults were innate 
 coarseness, which he could never get entirely rid of, and an inveterate 
 love of practical joking on and off the stage. He died November 26th 
 1S61. 
 
 At the beginning of this season H, J. Craven was appointed "prin- 
 cipal stage director," but a few weeks afterwards Cooper was announced 
 as "stage manager." Craven married Miss Nelson, a member of the 
 company. 
 
 On December 26th the Christmas pantomime Harlequin Prince 
 Agib ; or, Little Blossom and the Seven Dwarf Hunchbacks of the Sunny 
 Valley, was produced. The opening was written by Fred Lloyd, but 
 although clever in some points, it was terribly wordy. The author acted 
 the part of Queen Pandorous ; his father, the Demon ; Prince Agib = 
 Villiers ; Little Blossom = Mdlle. E. A. Louin ; The King = Wooldridge ; 
 and the Chief of the Seven Hunchbacks = Miss Marie Wilton (now Mrs 
 Bancroft). In the comic part Deulin was Clown ; Anderson, Pantaloon ; 
 C. Brown, Harlequin ; Miss J. Power, Columbine ; Miss Woodyer, 
 Harlequina; and Wooldridge, "Gent of 1851-2." This pantomime 
 hardly held its own against Gulliver at the Adelphi, where, as will be 
 seen, Mrs Wyndham gave the first proof of her unrivalled powers of 
 training children and directing spectacle.* 
 
 On January ist, 2nd, and 3rd an innovation was made in having two 
 performances /^r diem. On the evening of the 2nd, a new Scottish drama 
 entitled Dotigal the Piper, founded on "The Highland Widow," was pro- 
 duced. On the 8th, The Ladies Battle, for the first time. Miss Fanny 
 Vining played Mrs Stirling's great part of the Countess, and the other 
 characters were as follows :• — Leonie= Miss Leslie ; Henri de Flavigneul 
 = Leslie ; The Baron = Cooper ; Gustave de Grignon= H. Webb. Why 
 a low comedian should have been thrust into this fine light comedy part 
 it is difficult to conceive, especially when Bland and Craven were both 
 available. 
 
 • During the run of Prince Agib, Deulin, the Clown, on at least one occasion made a speech, declaring 
 that persons were sent up from the Adelphi to hiss the Royal pantomime ! 
 
432 The Annals of the Edinburgh Stage. [185 1-2. 
 
 On January 13th, J. W. Strang — the well-known teacher and tenor 
 singer, for many years precentor at Free St George's — made his first 
 appearance on the stage, and sang "The Death of Nelson." He after- 
 wards played Blue Peter in Black-Eyed Susan. 
 
 On January i6th Rob Roy was splendidly produced, the bills stating 
 that 120 persons were employed in the performance; the highland fling 
 was danced by 28 dancers, and 70 persons took part in one of the com- 
 bats. Mackay was specially engaged for the Bailie. Bland, in the 
 absence of E. L. Davenport, took Rob Roy, and although the part was 
 not in his usual line, scored a great success. A better Dougal than Bruce 
 Norton could scarcely have been found, nor could Cooper have been im- 
 proved upon as Owen. Lloyd was very good as Galbraith, and Loveday, 
 although quiet, made an effective Rashleigh ; Haigh and Miss Nelson 
 acquitted themselves very well in the vocal department, as did Miss Cruise 
 in the Tramp Chorus. Miss Vining was the Helen ; Miss Marie Wilton, 
 Martha; Madame Victor, Mattie ; and Miss Nicol, Jean M'Alpine. 
 Lloyd, not satisfied with his own staff of scene painters, with his usual 
 extravagance, brought through Fred. Fisher from Glasgow. Nine nights 
 seems a poor run for so fine a production, but that is all it extended to. 
 Other Scottish pieces revived were Heart of Midlothian, Guy Mannering, 
 and Cramond Brig, in which Mackay played Dumbiedykes, Dominie 
 Sampson, and Jock Howieson ; Bruce Norton being the Ratcliffe, Dandy 
 Dinmont, and King James. The next revival was Macbeth, on February 
 2nd, when Miss Glyn played Lady Macbeth, and Bruce Norton, Macbeth. 
 
 On February 12th Mrs Stirling made her first appearance here, 
 playing Adrienne Lecouvreur. 
 
 On March 3rd, Romeo a7td Juliet. Juliet = Miss Anna George, from 
 the Theatre Royal, Hull, her first appearance here; after which Cramond 
 Brig. Jock Howieson = Bruce Norton, his first appearance in that part. 
 
 On March 1 5th Rob Roy was again put on, the title role on this 
 occasion being played by Davenport, his first time of playing that part. 
 Bailie Nicol Jarvie= Mackay. 
 
 Belphegor the Mountebank, which had been produced by Murray 
 during his last season, was got up by Lloyd, and performed on April ist. 
 His management on this occasion is one, among many, instances of 
 Lloyd's foolish extravagance and lack of managerial ability. Webb, who 
 was in his company, and who had played the hero under Murray, was 
 passed over, and Glover from Glasgow specially engaged to play the part. 
 
185 1-2.] The Annals of the Edmburgh Stage. 433 
 
 Silver likewise was engaged to play Lavarennes, which Norton or Love- 
 day would most likely have done better, and certainly in such a character 
 as Madame Marcette, Mrs Archbold (also specially engaged) can scarcely 
 have done better than Miss Nicol would. 
 
 A contemporary criticism says, " Miss Wilton as Henrie has a nice 
 figure and appropriate action, and she ' played up ' to Glover throughout 
 the whole play admirably, her scene in the chateau being a splendid piece 
 of acting." The same critic,* in another place says, " Little Miss Wilton, 
 we predict, will soon be great Miss Wilton in fame. She does everything 
 she is entrusted with in the best style." 
 
 The Corsican Brothers was produced at the " Adelphi " from a more 
 or less pirated edition, and very soon afterwards at the " Royal" (April 
 1 2th 1852). The version produced at the latter house was the same as 
 originally produced at the Princess's, London. Bland played the Brothers ; 
 Chateau Renaud=H. Leslie; The Rival Corsicans = Watkins and Bruce 
 Norton; Emilie=Miss Mortimer; Marie = Madame Victor; Madame 
 dei Franchi = Miss Nicol. The whole cast was excellent, and the play 
 well put upon the stage ; but comparisons were freely made between this 
 and the Adelphi version, generally in favour of the latter, which, with 
 Davenport and Wyndham's acting in the two chief parts, must have been 
 excellent. 
 
 On April 15th a benefit was given for the Royal Infirmary, but not- 
 withstanding the sterling nature of the charity to be benefited, and the 
 production of a piece new to the Edinburgh boards, namely, Pauline, 
 the house was miserably poor. 
 
 The benefits followed soon after. Miss Nicol had Spoiled Child, in 
 which Miss Wilton played " Little Pickle." 
 
 Lloyd took his benefit on Friday, May 14th ; it had been announced 
 for the previous Wednesday, but was postponed on account of Murray's 
 funeral, and the Theatre was closed on both the Wednesday and Thursday 
 evenings. On the night of his benefit Lloyd made an excellent speech, 
 in which he referred to the sudden death of the late manager, and spoke 
 of the result of the season, so far, with cheerfulness. 
 
 The winter season at the Royal closed on May 22nd, and before 
 noticing the succeeding summer season it will be well to go back and see 
 what Wyndham had been doing at the Adelphi during the winter. 
 
 * The Theatre. 
 
 2 E 
 
434 The Annals of tlie Edinhirgh Stage. [1851-2. 
 
 This Theatre was occupied for a few nights by the Bateman children 
 (Kate and Ellen, then eight and six years of age), who opened on October 
 28th, after which Wyndham obtained possession of the building, and made 
 great exertions to have the Theatre thoroughly renovated. He put in a 
 new stage, and, after gutting the auditorium, had it done up again in the 
 best possible manner. Besides these necessary repairs, the outside was 
 considerably altered, so that it presented, according to a contemporary 
 account, a " neat and chaste appearance, very different from the dark, 
 dingy, barn-looking aspect it formerly bore." The pit was enlarged so as 
 to extend beneath the boxes and new seats provided, while the first few 
 rows were upholstered in a comfortable manner, and partitioned off as 
 orchestra stalls. A heavy, handsome gasalier was suspended to the roof, 
 and altogether the " house " looked neat and tasteful, and was comfortable 
 and commodious. The stage, besides being entirely renewed, was greatly 
 benefited by the removal of some spirit shops which had formerly 
 occupied a portion of the space beneath. All these extensive altera- 
 tions cost Wyndham a lot of money, but by his judicious and 
 spirited catering for the public, he was able to make it up again before 
 long. 
 
 By dint of great exertions everything was ready, and the Theatre 
 
 opened on Saturday, 27th December, when the house was crowded in every 
 
 part. After " God save the Queen " had been sung by the entire company, 
 
 Mr and Mrs Wyndham delivered a rhyming address. The comedy of The 
 
 School for Scandal was acted. Wyndham himself played Charles Surface 
 
 with all the gentlemanly ease he was so famous for, and which is so well 
 
 remembered by our older playgoers. Anthony Younge was the Sir Peter 
 
 Teazle; Miss Hill, Lady Teazle ; Holmes was the Joseph; James, Sir 
 
 Oliver ; E. Saker, Moses ; Lyons, Trip ; Josephs, Crabtree ; Eburne, Sir 
 
 Benjamin ; Miss Cleaver, Mrs Candour ; and Miss Webster, Maria. Miss 
 
 Hill and Younge were called before the curtain at the conclusion of the 
 
 comedy, as well as Mr and Mrs Wyndham, the latter being almost 
 
 smothered with bouquets as she retired. 
 
 The farce of Tliat Rascal Jack followed, in which Herbert played his 
 original part of the Rascal Jack. 
 
 In the selection of his company Wyndham did wisely in retaining the 
 services of as many as possible of the old set. Among these were Miss 
 Cleaver, stately and majestic ; Miss Parker, neat and sprightly ; T. Powrie, 
 Edward Saker ; Josephs, a most useful actor ; Lyons, &c. Besides these 
 
1 85 1 -2.] The Annals of the Edinburgh Stage. 435 
 
 he had made a selection of new talent, excellent with regard both to 
 quantity and quality. Miss Mary Hill, from Manchester; Miss Kate 
 Kirby and Miss Webster, from Birmingham ; Anthony Younge, from 
 Sadler's Wells ; Herbert, from London, &c. 
 
 It is well to note that Wyndham considerably reduced his rates of 
 admission. The boxes and box stalls (dress circle) were now 2s. 6d. ; 
 pit (or orchestra) stalls, 2s. ; pit, is. ; gallery, 6d. ; half-price, is. 6d. 
 and IS. 
 
 The pantomime was produced on December 29th. The title was 
 Gtdliver s Travels ; or, the Kingdom of Lilliput, and proved a distinct 
 success. This was largely owing to the splendid training of a Lilliputian 
 army, consisting of a band of some sixty children, who were divided into 
 three companies, and headed by Miss Annie Parker. The training was 
 entirely done by Mrs Wyndham, who on this occasion gave the first 
 proof of her wonderful genius for such work. Mungall and Saker were 
 Clown and Pantaloon, and Miss Kate Kirby was the Columbine. 
 
 Rob Roy was brought out at this house on January 17th, the evening 
 following its production at the Royal ; and notwithstanding the attraction 
 of Mackay at the senior house, Wyndham's production was much the 
 more successful. At the Royal the Bailie was the attraction, but at the 
 Adelphi Rob Roy himself was the notable personage. This part was in 
 the hands of Powrie, who, as many still remember, made an admirable 
 Highland outlaw. It is said that he studied the part under Langley, who 
 had been stage manager to Corbet Ryder — the original and, it is always 
 said, the best Rob Roy that ever appeared. Gourlay, who played the 
 Bailie, was probably the best in the part after Mackay. He had been 
 trained, indeed, under the veteran ; and many who remember the per- 
 formances of both consider the pupil to have been not much, if at all, 
 inferior to the master. Mungall made a capital Dougal ; and Josephs, as 
 Major Galbraith, seems to have made a hit. Miss Cleaver was excellently 
 fitted for such a role as that of Helen Macgregor, and Miss Parker and 
 Eburne filled the singing parts successfully. 
 
 Again following the lead at the Royal, Wyndham brought out 
 Macbeth on February 6th, with Powrie as Macbeth, a part in which he 
 was head and shoulders above Bruce Norton. Miss Cleaver also, as 
 Lady Macbeth, was no mean opposition to put against Miss Glyn. What, 
 however, stamped the Adelphi performance as a success was the effective 
 scenery, which, for the period at any rate, was very elaborate, 
 
43^ The Annals of the Edinburgh Stage. [1852. 
 
 On March i8th Paul the Pilot was revived and proved an attraction, 
 chiefly on account of the scenery. During the last week in March 
 Davenport and Miss Vining came over from the Royal 
 
 On April 20th a benefit was given for the widow of J. Herbert, the 
 late low comedian of the company, who had been acting until April, when 
 he had a benefit previous to going back to London. He died on April 
 6th of consumption. 
 
 Wyndham got the start of Lloyd in the production of The Corsican 
 Brothers, and although the version brought out at the Adelphi was only a 
 pirated one, it unquestionably took best. This was not to be wondered 
 at, seeing that Davenport played the Twin Brothers and Wyndham 
 Chateau Neuf; besides these, E. D. Lyons, Mungall, H. Saker, A. 
 Younge, Miss Cleaver, and Miss F. Vining were all in the cast. 
 
 Miss Vining and Davenport remained until the end of April, and 
 before leaving each took a benefit. On her night Miss Vining appeared 
 as Romeo. During the last week of the same month Sam Cowell 
 tickled the ears of large audiences with his inimitable comic songs. 
 On Monday, May 3rd, Phelps, from Sadler's Wells, London, made his 
 first appearance in Edinburgh, playing Richelieu. He only stayed one 
 week, playing Macbeth, Hamlet, and Sir Pertinax Macsycophant (the 
 last for three nights). Ira Aldridge, the African tragedian, played a 
 starring engagement after Phelps left; and about the same time H. J. 
 Craven and his wife (Miss Eliza Nelson) came over from the Royal and 
 joined the Adelphi company. H. J. Craven, who is still living (1888), 
 besides being a clever actor in his time, particularly in character parts, 
 was a successful dramatist, and many of his pieces, such as Milky 
 White (in which the author gained a great reputation by his acting of the 
 chief part). One Tree Hill, Megs Diversion, &c., are still played. Miss 
 Nelson, whom he married, was a daughter of S. Nelson, the composer, 
 and elder sister of the " Nelson Sisters," afterwards known as Carry and 
 Sarah Nelson, and both well known in Edinburgh in their day. 
 
 On the 28th May Miss Cleaver took her benefit, when Mackay 
 played Dumbiedykes in the Heart of Midlothian, Mungall being the 
 James Ratcliffe, and Miss E. Nelson the Jeanie Deans. On the following 
 evening Mackay again appeared, this time as Dominie Sampson ; and 
 George Webster, a famous Dandie Dinmont, was specially engaged for 
 that part. Eburne was Bertram on this occasion ; Verner, Dirk ; Josephs, 
 Gabriel ; Wyndham, The Colonel ; Miss Cleaver, Meg Merrilees ; and 
 
1852.] The Annals of the Edinburgh Stage. 437 
 
 Miss Nelson, Lucy Bertram. Wyndham played Claude Melnotte for the 
 first time at his wife's benefit, which took place on May 31st. June 3rd, 
 Mackay again as Dumbiedykes ; and on the 7th Phelps commenced a 
 second engagement. On June nth, in addition to Phelps, Sam Cowell 
 was engaged. On the 12th Phelps took his benefit with Merchant of 
 Venice and Man of the World, with comic songs by Cowell between. On 
 this evening Anthony Younge, the stage manager and first old man of the 
 company, appeared for the last time as a stock actor at the Adelphi. 
 
 The last night of the season was on June 14th, when the programme 
 consisted of the following pieces : — Look before You Leap, for the first 
 time in Edinburgh ; a new farce by Miss Cleaver called The Ballybaggerty 
 Bequest, with Wyndham as the hero — Sir Ballinaslae Ballybaggerty — 
 supported by H. J. Craven, H. Saker, Josephs, Miss Cleaver, Miss 
 Parker, &c. ; after which Sam Cowell sang " Billy Barlow," and then Mr 
 and Mrs Wyndham's address ; the whole to conclude with Robert the 
 Bruce, Wyndham playing Robert. In the first piece {Look before You 
 Leap) Barry, from the Bath Theatre, made his first appearance in the 
 capacity of successor to A. Younge. 
 
 Without even a single evening's interval, the summer season opened 
 immediately after the closing of the winter one — namely, on June 15th 
 (1852), the pieces being The Battle of Waterloo, Ploughman turned Lord, 
 and The Ballybaggerty Bequest. In the Ploughman turned Lord, Henry 
 Webb made his first appearance, greatly strengthening the company, for 
 he was at the time one of the finest low comedians on the stage. On the 
 1 8th he astonished the audience by his powerful acting in the melo- 
 dramatic part of Giles in The Miller s Maid. 
 
 A spectacle of great magnificence, founded upon the story of Aladdin, 
 was brought out on June 21st. Aladdin = Miss Parker; Abanazar = 
 Charles Verner ; Kasrac = Mungall ; Kalig (with song) = Eburne ; Genius 
 of the Lamp =H. Saker; The Princess = Miss Hill; The Widow = Mrs 
 Newton. Channing painted the scenery for this production, the properties 
 were by Paterson, and Leopold arranged the ballets. Aladdin ran as a 
 first piece till July 2nd, and as an after piece till July i6th. 
 
 On July 5th Mdlle. Emile Grahn, dancer from Her Majesty's 
 Theatre, made her first appearance here, and on the following night 
 Davenport and Miss Vining should have rejoined the company, but owing 
 to the former being detained in Liverpool by illness, their re-appearance 
 did not take place until the loth. 
 
43^ TJie Annals of the Edinburgh Stage. L'^5'' 
 
 On July 13th H. J. Craven and his wife reappeared at this Theatre, 
 playing in The Village Nightingale, one of his own pieces, with music by 
 S. Nelson (his father-in-law). 
 
 On July 26th a new and original drama, called The Crusaders, which 
 is stated by a contemporary journal, called the Weekly Revieiu, to 
 have been written by Ebsworth, was brought out, with Davenport and 
 Miss Vining in the chief parts. Miss St George made her last appear- 
 ance on August 14th, and on the 17th, a translation from a French piece, 
 named to suit the Edinburgh performers, IVebd Worried by Wyndhani, 
 was brought out with success. 
 
 On Saturday, August 28th, Rob Roy was played at Miss Rebecca 
 Isaacs' benefit. Miss Isaacs had been starring at this house for some 
 nights; the cast was as follows: — Rob Roy = Davenport ; Rashleigh = 
 Wyndham ; Francis = Eburne ; The Bailie = G. Webster ; Dougal = 
 Mungall ; and Helen Macgregor= Mrs Wyndham. On the following 
 Monday (August 30th) H. Saker, Mrs Wyndham's brother, took his 
 farewell benefit before leaving to join the Princess's, London, where he 
 remained a member of the company until his death. During the evening 
 of his benefit he delivered an address, written by W. H. Eburne. 
 
 About the beginning of September several of Wyndham's company 
 left him to join RoUison and Leslie at the Royal. Among these were 
 Miss Cleaver, Mrs Newton, Mrs Eburne, and Leopold, the dancer. 
 Eburne also left, but did not go to the senior house. Miss J. Cook 
 joined in place of Mrs Newton. Miss Cook was an excellent impersonator 
 of old women, and although her talents had been completely eclipsed at 
 the Royal by the sujaerior merits of Miss Nicol, she had no rival at the 
 Adelphi, and took her place at once. An actor of the name of Wynne 
 also joined the Adelphi to play utility, as well as Brindall, who, although 
 he had played good parts at the Haymarket and other London houses, 
 seems to have come down in the world when he engaged with Wyndham 
 (he had also been with Lloyd at the Royal, 1851-2). In place of Miss 
 Cleaver, Mrs Wyndham herself appeared in such parts as Lady Macbeth, 
 Meg Merrilees, Helen Macgregor, &c., when necessary. 
 
 Notwithstanding that an overwhelming audience assembled in the 
 
 Royal on the evening of Saturday, September 4th, to inaugurate the new 
 
 management of Messrs Rollison & Leslie, the Adelphi was likewise 
 
 packed, to give a hearty reception to Davenport and Miss Vining, 
 
 who, on that evening, took their benefit. The play was Merchant of 
 
1852.] The Annals of the Edinburgh Stage. 439 
 
 Venice, and Davenport and Miss Vining played Shylock and Portia for 
 the first time in Edinburgh. During the evening Miss Vining spoke the 
 following address, which was from the pen of H. J. Craven : — 
 
 " Ladies and Gentlemen, 
 
 " You've thought how ill it is. 
 They don't remove those Jewish disabilities ; 
 Unloose the tongue — allow our Hebrew brothers, 
 Of things political to speak like others. 
 Is it not harder, if such ills we scan, 
 That ladies cannot ' speak out like a man ' ? 
 ' Oh, don't address an audience ! Know your stations — 
 'Tis only men should venture on orations : 
 Of proper modesty it is a breach ! ' 
 What rubbish ! — for, at least, the gift of speech 
 No female disability you'll own ; 
 (The attribute has quite a slander grown.) 
 And surely over bold it cannot seem. 
 For us to speak — when gratitude's our theme I 
 
 The cant of phrase so oft we hear assign, 
 
 To modern days the Drama's sad decline : — 
 
 I don't believe it ! If true such assumption, 
 
 The air of Reekie's ' good for a consumption ; ' 
 
 For since I knew a moustache from a whisker, 
 
 I never saw the Drama looking brisker : — 
 
 Old Shakespeare ever and anon peeps forth, 
 
 ' Never say die ! ' his motto i' the north : — 
 
 And ever welcomed fresh, with one accord, 
 
 Your bold Rob Roy can never be outlaw'd ! 
 
 (From the steam leg, in thought I can't dis-sever, 
 
 This Rob Roy — 'cause he'll run and run for ever .' ) 
 
 Guy Mannering — Mid Lothian, and the Bride 
 
 Of Lammermoor in favour still abide : 
 
 Your hearts, like Prince's Street, with truth declare 
 
 Scott's Monument exists for ages there ! 
 
 To me, a humble artiste, whose desire 
 
 To please, in borrowing from your author's fire 
 
 An ember, to illume my efforts ; you 
 
 Have prov'd my friends on all occasions true. 
 
 Though often warn'd ere venturing to appear, 
 
 'Twas critical to please the critics here — 
 
 Presumption aye it's true position learns. 
 
 And burns its fingers in the land of Burns. 
 
 Your censure or discouragement from me 
 
 Has kindly turned — and I have passed Scot free. 
 
440 The Annals of the Edinbtirgh Stage. [1852. 
 
 And though, ambition framing schemes gigantic, 
 
 1 may be crossing e'en the wide Atlantic ; 
 
 Or in Austraha mounting muslin riggings. 
 
 And playing Mrs Haller at the diggings ; 
 
 Though friends I meet, and foreign mountains view, 
 
 I'll ne'er forget braw Calton Hill and you ! " 
 
 Webb produced, for his benefit, on the 13th September, The Betting 
 Boy, the legitimate version of which had been brought out at the Royal 
 only two nights previously. Webb's version seems to have been un- 
 doubtedly the better. 
 
 On Wednesday 15th, The Betting Boy was again played, with The 
 Jacobite as an after piece. In this Lloyd had been specially engaged to 
 perform, and when his voice was heard at the wings immediately previous 
 to his entrance, the house rose with a general shout to greet him, When 
 he was called before the curtain he returned " thanks for the gratifying 
 reception he had met with." " Usually," he said, " misfortunes tried and 
 often lost friends ; but such had not been his experience." 
 
 On Wednesday 29th Lloyd took his benefit. Glover came through 
 from Glasgow specially to play lago, and Davenport was announced as 
 Othello. Before the performance commenced, however, Wyndham had 
 to come before the curtain and apologise for Davenport, who was too un- 
 well to appear. Verner undertook the part, and seems to have made a 
 decided hit as the dusky Moor. 
 
 Curiously the date of Lloyd's benefit in 1852 was the e.xact anniver- 
 sary of his having become lessee of the Royal, so he mentioned, at least, 
 when returning thanks to the audience on the night in question. 
 
 Powrie rejoined the company on October 2nd as Richard IIL, and 
 on the 25th of the same month the summer season came to an end with 
 Mr and Mrs Wyndham's benefit. 
 
 The principal piece was Henj'y IV., in which Powrie played Hot- 
 spur, and Webb, Falstaff. The latter actor was labouring under a severe 
 cold, and so could not make so much of his part as otherwise he un- 
 doubtedly would. Wyndham was Henry, Prince of Wales ; and Ver- 
 ner, Henry IV. During the evening Wyndham delivered the following 
 speech : — 
 
 " Ladies and Gentlemen, — Deeply impressed with gratitude for the brilliant assem- 
 blage of this evening, and entertaining a due appreciation of the deep responsibility of my 
 position, I have the honour of appearing before you on this the terminating night of our 
 
1852.] The Annals of the Edinburgh Stage. 441 
 
 season, not so much for the purpose of making a set speech, full of empty professions, and 
 perhaps embodying improbable conclusions, but simply and honestly to thank you most 
 gratefully, fervently, and sincerely for the almost unexampled amount of patronage it has 
 been our good fortune to enjoy through a season of unparalleled extent. (Loud cheers.) 
 Little did I think when, from behind the scenes of this theatre, I used to listen with breath- 
 less attention to the brilliant and sparkling addresses of our late deeply lamented manager — 
 (cheers) — that I should so soon be called upon in a similar capacity to return thanks for the 
 flattering success of this my first theatrical campaign. (Renewed cheers.) Still less did I anti- 
 cipate that I, a comparative stranger, should have found friends of sufficient importance to 
 place me in the proud position I have the honour to occupy. (Loud cheers.) And it is a 
 source of continued gratification to us to know that those friends are, one and all, pleased 
 with our exertions — which exertions, I trust, will one day enable us to return their kindness 
 in a more substantial manner than by words, and, at the same time, be the means of reaping 
 a rich harvest for ourselves. (Cheering.) But whether that ' consummation ' so ' devoutly 
 to be wished ' should arrive or not, otir gratitude to you will not be the less unbounded. 
 (Applause.) It would, perhaps, be uninteresting were I at present to refer to matters of pounds, 
 shillings, and pence, or to the passing cloud which for a time obscured the dawn of our early 
 efforts. I shall content myself by stating that, notwithstanding the shock we then sustained, 
 and the heavy liabilities incumbent upon almost rebuilding the theatre, our books, thanks to 
 your undeviating patronage, show a balance on the right side. (Loud and prolonged cheer- 
 ing.) I am proud to take this opportunity of publicly thanking the proprietors of the Theatre 
 for the cordial assistance, advice, and co operation they have at all times so readily afforded 
 us — a circumstance which has considerably facilitated our exertions, and rendered our labours 
 comparatively light — for I feel assured they have not only their own interest but ours at 
 heart. I must also return my warmest acknowledgments to the gentlemen of the press for 
 their frequent and flattering notices ; and it may not be out of jjlace to assure them that our 
 utmost endeavours will be directed to render the stage what it ought to be — a school for 
 amusement and instruction — ' to show virtue her own feature, .scorn her own image, the very 
 age and body of the time its form and pressure.' (Applause.) It only now remains for me 
 to state that the Theatre will remain closed until Saturday the 6th of November, when we 
 shall commence our winter season with redoubled energy, and with a powerfully augmented 
 dramatic company. (Cheers.) I have also to intimate that, on Monday the 8th, the great and 
 unrivalled tenor singer, Mr Sims Reeves, will have the honour of making his first appearance 
 under the present management — (cheers) — in conjunction with your own Alackay. (Renewed 
 cheers.) I may also add that, during the recess, the interior of the Theatre will be fitted up 
 with additional lustres ; and that new lamps from a design of David Bryce, Esq., have been 
 completed, to illuminate the exterior. In conclusion, ladies and gentlemen, allow me, in the 
 name of the company, Mrs VVyndham, and myself, to return you our sincere and grateful 
 thanks ; and to bid you, until the 6th of November, a respectful farewell." 
 
 A very few lines will suffice to narrate the conclusion of Lloyd's 
 ijianagement of the Royal. He opened the summer season on May 31st. 
 Mr and Mrs Craven had left the company, as had also Webb, Loveday, 
 and Miss P. Cooke. Miss Power, who had only danced during the 
 winter season, was promoted to being walking lady as well as dancer ; 
 
442 The Annals of the Edinburgh Stage. [1852. 
 
 Mrs Simpson took the second old women in place of Miss Cooke (who 
 went to the Adelphi), while the remaining members of the company con- 
 tinued much in the same lines as during the winter. 
 
 On June 29th Cooper resigned the stage management, and Bruce 
 Norton took the post ; and on July loth the season came to an abrupt 
 termination with a benefit to Lloyd, when Glover, from Glasgow, and 
 Wyndham, as well as the entire company, gave their gratuitous assistance 
 in The Rivals, An Address, The Imperial Guard, and His Last Legs, 
 Glover playing Faulkland in the first of these pieces, and Wyndham, 
 O'Callaghan, in the last. 
 
 Although Lloyd had made a hopeful enough speech at the con- 
 clusion of the winter season, there is no doubt that his affairs had become 
 terribly involved even before that time. His management had proved 
 a total failure, the result of want of tact and judgment from first 
 to last. After taking lodgings within the sanctuary of Holy rood until his 
 affairs were set to rights by the lawyers, he emerged from the Bankruptcy 
 Court perhaps a wiser, but certainly a poorer man. After playing a few 
 nights at the Adelphi, as stated a few pages back, he returned to Glasgow 
 and remained as principal low comedian until the final breaking up of the 
 stock system, since which time he has occasionally appeared on the 
 boards he trod for so many years. 
 
 The Royal did not remain long without a tenant. Very soon after 
 Lloyd's failure it was let to Messrs Rollison (who had been treasurer to 
 Lloyd), and Henry Leslie (known as a pleasing actor of walking gende- 
 men and juvenile men). The new managers, to do them justice, com- 
 menced in a more judicious and economical way than Lloyd had done. 
 Their company was good, more compact and easily managed than the 
 late one, and included most of the best members of Lloyd's company. 
 Messrs Bland, Cooper, Bruce Norton, Villiers, Watkins, Irwin, G. Fisher, 
 and the versatile Wooldridge, who played almost anything — old men, 
 young men, singing parts, or even clown ; Miss Arden, Miss Nicol, Miss 
 Cruise, Miss Bufton, &c., were among the number ; while from the 
 Adelphi were brought Miss Cleaver, Mrs Eburne, and Mrs Newton. 
 From Sadler's Wells, London, Miss Fanny Bennett came as leading 
 lady ; Miss Somers and Miss Alford came from the Theatre Royal, Glas- 
 gow, as second soubrettes ; Tindell played "heavy" to Norton's "lead" ; 
 Haigh and Charles Durand (tenor and baritone) appeared during 
 a portion of the season ; Walton, C. Walton, Sherbrooke, Duff, and 
 
1852.] The Annals of the Edinburgh Stage. 443 
 
 Richardson, were utility men ; and the important post of low comedian 
 was filled by E. W. Gomersal, from Bath. Gomersal was an excellent 
 actor, although not on the same level as either Webb or Lloyd. 
 
 A feature in the new company was an excellent ballet. G. Martin 
 was ballet master, and Mdlle. Adele was engaged as principal dancer, 
 and proved a great attraction ; she afterwards married a well-known mem- 
 ber of the Scottish Bar. Mackenzie was retained as leader of the band, 
 B. Tannett appeared as scene painter, Leslie was stage manager, and 
 Conway, prompter. 
 
 As noted above, the Royal opened upon the same evening as Daven- 
 port and Miss Vining took their benefit at the Adelphi. The Royal was 
 crowded, a notable feature, a contemporary mentions, being the number 
 of ladies with their families in the boxes. Mackenzie, on appearing to 
 conduct the overture, received a great ovation, which, it may confidently 
 be said, he was well entitled to. " God Save the Queen " was next sung 
 by the entire company, Miss Eliza Arden taking the solo verses ; after 
 which Leslie spoke as follows : — 
 
 " For the first time, ladies and gentlemen, I have the honour to appear before you in 
 the deeply responsible situation of one of the managers of your old Theatre Royal. The 
 circumstances that preceded so daring an assumption, are so intimately blended with the 
 meritorious and pains-taking efforts of Mr Lloyd, the late lessee, that I cannot refrain from 
 digressing for a moment, to allude to one whom a kindly, but I fear injudicious liberality, 
 has condemned to an honourable failure. Whilst under his management, both my partner 
 and myself found him a lenient and considerate master, and it affords us a high, but jjainful 
 gratification, thus publicly to express our sincere sympathy. (Hear, hear.) It has been con- 
 sidered by some a presumptuous effort on the part of two young men to take upon them- 
 selves the conduct of so large and important an establishment as this. Believe me, ladies 
 and gentlemen, we should not have done so, but after grave and deliberate consideration. 
 The representations of numerous friends, however, and the promises of support we have re- 
 ceived from almost every quarter, determined us. Severally, each would have shrank from 
 such an undertaking, but in union lies strength ; and united as we are by the close bonds of 
 interest, and the still closer ties of friendship, we nerve ourselves for the task, and trust to 
 our own efforts and earnestness for a successful issue. (Loud cheers.) One bar to your con- 
 fidence has been suggested to us — our youth, and consequent inexperience. If to be young 
 be criminal, we at once advance our plea of guilty ; but without insulting the memory of that 
 truly distinguished man, by a comparison with myself, I may venture humbly to remark, that 
 when the late Mr Murray assumed the direction of this Theatre, under similar disadvantage- 
 ous circumstances, he was but a very few months my senior. May I be his humble but 
 sincere disciple, and when I render up my accounts to the tribunal of public opinion, may I 
 come forth as clearly, as honestly, as irreproachably as he did. (Loud cheers.) With youth 
 we bring its ho]5e, its earnestness, its energy — to these we mean to add jjerseverance — and, 
 yet more, a firm determination to succeed. (Renewed cheers.) I am proud to be called an 
 
444 The Annals of the Edinburgh Stage. [1852. 
 
 Englishman, but I am, if possible, still prouder that my partner is a countryman of 
 your own, a Scotchman, and the first, I believe, who ever assumed a direction in the 
 Theatre Royal of this city ; and when the ardour of the south is tempered by the cool and 
 cautious sagacity of the north, surely we are not too sanguine in anticipating a happy result. 
 (Great applause.) We feel we should be wanting in a duty did we not express our grateful 
 acknowledgment to the proprietors of this Theatre for the very liberal and handsome manner 
 in which, on every possible occasion, they have met us — to those gentlemen who so readily 
 came forward on our behalf, and, in short, to each and every individual whose interests are 
 blended with this establishment ; nor could we, without ingratitude, be silent on the obliga- 
 tions we lie under to the ladies and gentlemen of the late company for the good feeling, 
 friendship, and confidence with which they have, through the inconveniences of a necessarily 
 protracted recess, waited for us till we could again assemble them on the boards where they 
 have so often distinguished themselves. With their most efficient co=operation, aided by 
 that of the able artistes we have culled from other Theatres, we can have no doubt that the 
 representations we shall offer will shed a new lustre on the time-honoured reputation of 
 the Theatre Royal. We have the same obligation to acknowledge to the gentlemen of the 
 orchestra, and to its justly distinguished leader. (Loud applause.) But we cannot choose 
 but feel, ladies and gentlemen, that all our efforts will be useless, all our exertions misap- 
 plied, if you withhold the golden meed of your support and approbation. Encourage us but 
 with your smiles — cheer us but with your applause ; and while these in themselves will more 
 than repay us for our exertions in the past, they will stimulate us to fresh toil, fresh endeavour 
 for the future. We can point to nothing that we have as yet done, and we ought to be 
 somewhat chary in boasting what we mean to do ; but suppose us on our trial, we unani- 
 mously elect you the jury — kindly reserve your judgment till the termination of our first 
 season, when we have a reasonable confidence that you will be enabled conscientiously to 
 return a verdict in our favour." 
 
 The pieces performed were By Royal Command and Binks the 
 Bagman, with a " ballet divertissement," in which Mdlle. Adele and G. 
 Martin, as well as Miss Bufton and Leopold, appeared. 
 
 Miss Fanny Bennett, the leading lady of the new company, made 
 her first appearance on September 9th in the play oi Ingomar, then played 
 for the first time in Edinburgh. On the same evening the burlesque 
 Robin Hood vf^.'s, produced. Miss E. Arden was the Robin Hood ; Mrs 
 Eburne, Little John ; Gomersal, Friar Tuck ; while Mdlle. Adele and 
 Martin danced a grand pas de deux in the second act — a contemporary 
 critic * remarking that it was " worth the admission money only to see this 
 lady's delightful performance." 
 
 On September nth The Betting Boys Career was produced, but 
 although Norton's acting as "Joe Muggins' Dog" was extremely good, 
 the piece proved quite a failure compared to the version produced by 
 Wyndham at the Adelphi. 
 
 • Weekly Rruim: 
 
1852-3.] The Annals of the Edinburgh Stage. 445 
 
 On September i8th a new version of Waverley, in three acts, was 
 produced. Miss Fanny Bennett made a fine appearance as Flora M'lvor. 
 Gomersal was much applauded as Mrs Nosebag, but lacked, nevertheless, 
 the necessary brogue. Miss Nicol made her first appearance for the 
 season as Mrs Macleary, and received a splendid ovation on her first 
 entrance. Harcourt Bland was Fergus M'lvor; Bruce Norton, Brad- 
 wardine ; Leslie, Evan Dhu ; Villiers, Captain Waverley ; Fisher, the 
 Laird of Balmawhapple ; and Miss E. Arden, Daft Davie Gellatly. 
 
 The new management altered the time of commencing the per- 
 formances from half-past seven to seven o'clock. As a result, a great many 
 people — even the box occupants — instead of going to the Theatre late 
 for the first prices, waited until nine o'clock, and got in at half price, a 
 proceeding which did not have a favourable influence on the treasury. 
 
 On September 24th the veteran actor T. P. Cooke commenced his 
 farewell engagement. He acted on the opening night as William in 
 Black Eyed Susan to a crowded house. On the same evening J. B. 
 Johnston's version of Uncle Toms Cabin was played for the first time 
 here. Uncle Tom = Tindell; Legree = Villiers ; Van Tromp= Bruce 
 Norton; George Harris = Leslie. Curiously the characters of Eva and 
 Topsy seem to have been omitted in this version. 
 
 On the 4th of October The Heart of Midlothian was put upon the 
 stage with the following cast: — Duke of Argyle=H. Bland; George 
 Staunton = Tindell ; Dumbiedykes = Bruce Norton ; Saddletree = G. 
 Fisher; Reuben Butler = Villiers ; Black Frank = Wooldridge ; Queen ot 
 England = Miss Somers ; Jeanie Deans = Mrs Eburne ; Mrs Glass = Mrs 
 Newton; Margery — Miss Nicol; Madge Wildfire = Miss E. Arden. 
 
 T. P. Cooke took his benefit on Saturday, November 9th, when he 
 played in Poor Jack and Black Eyed Susan. In the course of the 
 evening he made a speech to the following effect : — 
 
 " He remarked that though an interval of eight years had elapsed since his last appear- 
 ance in Edinburgh, he hoped that the adieu he had now to bid them would not be final. I 
 have always felt (he said) that final leave-taking is a very painful and unnecessary ceremony, 
 and it is a species of professional suicide I do not intend to commit. Allow me, then, to 
 live in the hope of again seeing you. (Cheers.) I know that when I look around for the 
 number of dear friends who have departed since I last appeared before you, it may be a 
 forlorn hope ; still, it is a pleasing one, and one you will permit me to indulge in. (Cheers.) 
 Thanking you for the many acts of kindness I have received from you, allow me for the 
 present to say farewell. I may add, that I have offered my services to the management for 
 one night more, as a very poor acknowledgment for the very honourable and gentleman-like 
 
44^ The Annals of the Edinburgh Stage. [1852-3. 
 
 treatment I have received at their hands. True, they are engaged in an arduous struggle, 
 and I cannot commend the good taste or generalship of the opposition which has been 
 offered to my engagement. I do sincerely hope that a discerning public will still support 
 this Theatre, consecrated as it is by so many recollections, dramatic and literary, and a 
 Theatre every way worthy of this, the most splendid metropolis in the world." 
 
 His reference to the other house was a gross mistake, and was 
 resented as such by the audience, or at least by the gallery portion 
 thereof, and a hearty cheer for Wyndham was given by the " gods." 
 
 On October 20th a new Scottish operetta by James Ballantyne, 
 entitled The Provost's Daiighter, was produced. The plot of this piece 
 was quite simple, being composed of the loves and escapades of two 
 students — played by Haigh and Wooldridge — who are attached to the 
 Provost's daughter (Miss Rebecca Isaacs), and Margaret Fleming (Miss 
 Eliza Arden). It served to introduce some very pleasing ballads com- 
 posed and arranged by Mackenzie. 
 
 The Theatre was closed for a few evenings during the " preaching" 
 week,* reopening on Tuesday, November 2nd. The winter season 
 proper (1852-3) may be said to commence on this date, notwithstanding 
 the curious division into seasons made by the management (see during 
 December same year). The pieces played on December 2nd were 
 The Black Domino, a ballet entitled " La Bouquetiere," and a burlesque 
 of The Castle of Otranto. In the last piece Miss P. Horton appeared 
 in her original part of Theodore, and introduced the " Exhibition song of 
 all nations." In the same piece Gomersal made a very good appearance 
 as Manfred. 
 
 On Monday, 8th November, The Fair One with the Golden Locks 
 was performed, with Miss P. Horton as Graceful, the other pieces on the 
 same evening being The Little Devil, Cramond Brig, and Box and 
 Cox. 
 
 On the loth Rob Roy was played, when, according to the bills, " in 
 consequence of numerous applications, and in obedience to the wishes of 
 a great patron of the public," Bruce Norton essayed the part of Bailie 
 Nicol Jarvie. Although it was an excellent performance, he was too burly 
 and youthful in appearance, as well as rough in style. On the following 
 evening he appeared as Macbeth ; Lady Macbeth being played by Miss 
 Cleaver; Macduff= H. Bland; and Hecate = Durand. 
 
 • A church fast week, when theatres were always closed. In Glasgow and Edinburgh, the observarice 
 has now happily been transformed into a public holiday, twice a year 
 
1852-3.] The Annals of the Edinburgh Stage. 447 
 
 On Saturday, November 20th, Miss Helen Faucit commenced a 
 seven nights' engagement, appearing during the week in several of her 
 best parts ; and, after one or two benefits, the close of the season (although 
 what season is not stated) was announced for December i8th. The 
 Merchant of Venice was acted with the following cast : — Shylock = Bruce 
 Norton; Portia = Miss Cleaver ; Bassanio = Leslie ; Gratiano=H. Bland; 
 Nerissa= Mrs Eburne. After the play Leslie came forward and made a 
 short speech, in which he stated that the season had been on the whole a 
 financial success, the correctness of which statement may fairly be doubted. 
 
 Miss Fanny Bennett now left the company, and the Theatre reopened 
 on December 27th with the pantomime of Harlequin Lord Love lie and 
 Nancye Bell. Scenery by Tannett, masks designed by Alfred Crowquill, 
 and comic business by Wooldridge. This piece seems to have been 
 previously played at the London Surrey, and was splendidly put on the 
 Edinburgh stage. It was universally admitted that Tannett's scenery 
 had rarely been equalled. His first scene, " Haunt of the Fairies by 
 Moonlight," nightly took the audience by storm. The opening was full 
 of good old fashioned fun. Leslie himself played Lord Lovelle ; Fisher, 
 the Baron ; Watkins, Lady Nancy ; and Miss M. Cruise, Oberon. Mdlle. 
 Adele, by her graceful dancing, made a great hit ; nor was the comic part 
 inferior in attractions. Wooldridge, with his extraordinary versatility, 
 astonished every one by making an excellent clown, his imitations of 
 popular dancers being particularly good. Miss Bufton could scarcely 
 have been excelled for grace as Columbine ; Leopold made a good 
 Harlequin ; while Bullock, from Astley's (the only stranger engaged), was 
 Pantaloon. 
 
 The pantomime was a great success, but it is to be regretted that 
 during its run a considerable amount of bad feeling was engendered 
 between the rival houses. T. P. Cooke's remarks have already been 
 quoted ; to these Wyndham replied a few nights later ; but during the 
 pantomime, on one particular evening, Leslie, laying aside his grotesque 
 mask as Lord Lovelle, came forward and complained of a few people in 
 the gallery who persisted in hissing, and even hinted that they were sent 
 there for that purpose. 
 
 The pantomime was played (with one or more plays added each 
 evening) till February 4th 1853. On January 26th Rollison, one of the 
 lessees, took his farewell benefit, and retired from management. On the 
 I ith of the same month he, with his partner Leslie, had been entertained 
 
44^ The Annals of the Edinburgh Stage. [1852-3. 
 
 to dinner in the Waterloo Hotel by a number of their patrons, and not a 
 word was then said about retirement ; so he must have have made up his 
 mind pretty suddenly. There can be no doubt that the withdrawal of his 
 capital and assistance in the business department was the chief cause of 
 Leslie's failure. Leslie had neither the money nor experience to conduct 
 such a large establishment alone. 
 
 Richelieu was the principal piece played for Rollison's benefit, and 
 Bruce Norton fairly astonished the audience by his splendid acting as the 
 Cardinal, a circumstance the more extraordinary, as he had studied the 
 part in two days. 
 
 The next piece of importance produced was The Jewess ; or, the 
 Council of Constance, adapted from the French opera of La Juive. This 
 was put upon the stage in the most sumptuous manner. A procession of 
 over 200 persons crossed the stage, which they left altogether, and cross- 
 ing the pit upon a platform specially constructed, made their exit by the 
 back of the boxes. Upwards of ;(^7oo worth of armour was specially 
 made for it by Granger of Paris, and a splendid ballet, led by Mdlle. Adele, 
 Martin, Miss Bufton, and Leopold, was introduced, and the scenery was 
 specially painted by Tannett. The cast was as follows: — Eleazer=B. 
 Norton; Rachael = Miss Arden ; The Princess = Mrs Eburne ; The 
 Emperor = Waldron ; Prince Leopold = H. Bland ; The Cardinal de 
 Brogni = Tindell ; John Beauchamp = Dufif.* 
 
 This production cannot have paid Leslie, for it only ran twelve 
 evenings. 
 
 On February 19th, a dramatic spectacle, entitled fohn of Leyden ; or, 
 The Prophet King, was produced, like the previous piece, with great 
 magnificence. The stage was thrown open to the walls of the Theatre 
 on both sides (as it had also been in The Jewess), and in one scene was 
 covered with canvass painted to imitate ice, and a dance oi patineurs was 
 introduced by Miss Bufton, Leopold, and the corps de ballet. 
 
 On February 28th Miss P. Horton reappeared, but during her 
 engagement played to very poor houses. The attendance in fact during 
 the whole of this season — in the boxes at anyrate — seems to have been 
 miserably bad. 
 
 Tlie Tempest was next produced (March 8th) on the same scale of 
 
 * Duff was a son of the former member of the company of that name, and who was so famous as the 
 " Dougal " in Rob Roy. 
 
1852-3.] The Annals of the Edinburgh Stage. 449 
 
 completeness, and Tannett not only painted some fine scenery for it, but 
 acted the part of Prospero, and did it well ; it was his first appear- 
 ance here. The other parts were disposed of as follows: — Ariel = Miss 
 P. Horton ; Miranda = Mrs Eburne ; Caliban = Bruce Norton; Trinculo 
 = Gomersal ; Stephano = Cooper; Sebastian = Duff; Ferdinand = H. 
 Bland. 
 
 On the I2th Miss P. Horton took her benefit, when School for 
 Scandal was played. Lady Teazle = Miss P. Horton; Mrs Candour = 
 Miss Cleaver; Sir Peter = Cooper ; Charles Surface =E. Davis; Sir Ben- 
 jamin =H. Bland; Lady Sneerwell = Miss Nicol ; Sir Oliver = Fisher ; 
 Joseph Surface = B. Norton; Moses = Gomersal. 
 
 E. Davis had come from Newcastle specially for this benefit. 
 
 Several other benefits followed, that on the 19th being announced for 
 A. Mackenzie. During the evening Bland appeared in front of the 
 curtain and intimated that Leslie, who was to have acted in both plays, 
 had not come to the Theatre either for rehearsal or up to that moment, 
 and inquiries that had been made for him had proved fruitless. Charles 
 Verner, late of the Adelphi, undertook Leslie's parts at a moment's 
 notice, and the performance went on. Other benefits, which had been 
 advertised, were given during the following week, but Leslie did not 
 again put in an appearance. Rollison's departure with the greater part 
 of the capital had seriously crippled him, and the poor houses he had had 
 could not have paid him for the enormous outlays he had been at 
 in producing several of the pieces mentioned above. Very soon after his 
 failure, Leslie appeared in London, at Drury Lane, and the Olympic. 
 
 On April 6th (1853) a benefit was got up for Martin, who had been 
 ballet master, and who had been disabled by an accident. Glover and 
 Lloyd came through from Glasgow to perform, but there was only a fair 
 house. 
 
 After the closing of the Royal, Bland, Cooper, Tindell, Villiers, Miss 
 Arden, &c., left Edinburgh, while Bruce Norton and Gomersal, along 
 with a several of the old company, and some additions from the Adelphi, 
 went out to Pablo Fanque's Amphitheatre (now Newsome's Circus), where 
 they opened for a short season, but apparently without much success. 
 
 We will now go back to the Adelphi, and trace its career under 
 Wyndham from where we left off to the present period. 
 
 Wyndham did not allow his house to remain closed any longer than was 
 just necessary for the execution of some repairs, and the improvement of the 
 
 2 F 
 
450 The Annals of the Edinburgh Stage. [1852-3. 
 
 lighting arrangements by adding a number of small gasaliers round the 
 circle, and some lamps outside the Theatre. His opening night for the 
 winter season was Saturday, November 6th 1852, when the //iw«^/z(5af/C' was 
 played. Clifford = Powrie ; Julia = Miss Page, her first appearance here ; 
 Helen = Miss Parker ; Modus = Wyndham ; Master Walter = Verner. 
 
 On Monday, November 8th, Mackay played Sir Pertinax Mac- 
 sycophant in the Man of the World, and evidently made a great hit by 
 the impersonation.* 
 
 Sims Reeves had been announced to appear on the loth, and every box 
 and stall had been taken in advance, but the great tenor, for the first time 
 — although not the last — disappointed an Edinburgh audience. Wynd- 
 ham published a bill (on the morning of the loth) giving a full explanation, 
 and stating that several telegraphic messages (luxuries in those days) had 
 passed between himself and the eminent tenor. Notwithstanding the dis- 
 appointment, the audience behaved handsomely to Wyndham, and kept 
 their places, the house being crowded. The first piece was the Daughter 
 of the Regiment, in which Miss Rebecca Isaacs gained enormous applause, 
 and she was called before the curtain at the conclusion of the piece — an 
 honour in those days, because it was only given when exceptional merit 
 in the performance called for some special meed of praise to be awarded. 
 Wyndham was called to the front, and thanked the audience for their 
 kindness under the circumstances, and then Rob Roy was put on as the 
 second piece. In this Powrie played "Rob;" Mungall, the Dougal ; 
 Wyndham, Rashleigh ; Webb, Owen ; Josephs, Major Galbraith ; Lyons, 
 Captain Thornton ; Miss Isaacs, Diana ; Mrs Wyndham, Helen Mac- 
 gregor, which apparently was the first time of her playing the part ; and 
 Mackay again appeared as the Bailie. 
 
 On Monday, 15th November, Romeo and Juliet. Romeo = Powrie ; 
 Juliet = Miss Page. This lady, who played lead, speedily became a great 
 favourite. 
 
 On Monday, November 22nd, the Misses Pyne, Borrani (bass), W. 
 Harrison (tenor), and O. Summers, all appeared in The Bohemian Girl ; 
 while during the week there were given Maritana, Sonnambula, Crotvn 
 Diamonds, The Barber of Seville, &c. 
 
 The last night of the opera company was on December 4th. On the 
 6th Powrie took a benefit, previous to his leaving the city ; and on the 
 
 * This was not (as then stated) the first time of his playing the part. 
 
1852-3-] The Annals of the Edinburgh Stage. 451 
 
 following evening Davenport and Miss Vining returned to the Adelphi, 
 and performed together in several "legitimate" pieces during the week 
 that followed. Miss Pyne and company returned again for a few evenings 
 on December 21st, and on the 26th of that month the Christmas panto- 
 mime The Ocean Queen was produced. The scenery, by Channing, 
 Selwin, and Sam Bough, was remarkably fine ; but the production 
 as a whole seems scarcely to have been so interesting or amusing 
 as the pantomime at the other house. Harlequin = M. St Ody ; 
 Columbine = Miss M. Butler; Harlequina= Miss Weiss; Pantaloon = 
 Carroll ; Clown = Paul Pietro. The spring trap through which sprites are 
 shot up from underneath the stage seems to have been used for the first 
 time in Edinburgh during this pantomime. 
 
 During the run of the pantomime Powrie returned to the Adelphi. 
 
 On January 25th 1853, Mackay played the Bailie, with more 
 animation, it is said, than he had done for some time, and with all the 
 fascination of his younger years. At the close of the performance he was 
 rapturously called before the curtain, and, in acknowledgment, he returned 
 his thanks to the audience for the "warm feeling they had always testified 
 to their auld acquaintance. Bailie Nicol Jarvie." Next morning the bills 
 announced Redgauntlet. Peter Peebles = Mackay ; but at night the 
 audience were told that, in consequence of a sudden and severe indisposi- 
 tion, the veteran actor could not appear. He never acted again. Mac- 
 kay's career has already been pretty fully chronicled in these pages. His 
 importance in the company it is difficult to over estimate, for in many 
 respects he was as intimately associated with the history of the Edinburgh, 
 and, indeed, of the Scottish stage, as was Murray himself. Without his 
 aid it is almost questionable whether the Waverley dramas would ever 
 have taken the important place they did in the fortunes of the Theatre 
 Royal, and there is no doubt that his impersonations of such parts as the 
 Bailie, Peter Peebles, Meg Dodds, Jock Howieson, and many others, 
 were never surpassed, if, indeed, they were ever equalled. His acting in 
 other than his Scottish parts has been differently estimated, but although 
 perhaps not a great actor out of his special line, he was at any rate a good 
 all round useful man. In private life he was quiet, well conducted, and 
 honourable in all his doings. He left a son. Hector, who went on the 
 stage, and subsequently took up his abode in America. Mackay never 
 recovered from the illness mentioned above, and died November 2nd 1857.* 
 
 * Pe was buried in the Calton Burying-ground, 
 
452 The Annals of the Edinburgh Stage. [1852-3. 
 
 On Friday nth February, Sims Reeves, accompanied by Mrs Sims 
 Reeves and Miss Julia Harland, appeared, playing Harry Bertram in 
 Guy Mannering. This piece was followed by Rob Roy and The Water- 
 man on the 1 2th, La Sonnambzila and the Beggars Opera on the 14th, 
 and on the 15th (last night and benefit of Sims Reeves), selections from 
 The Bohemian Girl, Lucia, The Waterman, and Midas. 
 
 Webb took his benefit on the 17th, when a drama entitled Simon 
 Lee ; or, the Mtirder of the Five Field Copse, was produced. 
 
 On the following day Webb was entertained to dinner in the Regent 
 Hotel by his fellow-actors, and presented with a massive gold ring by 
 Wyndham, who was in the chair. He appeared on the same evening 
 for the last time as a member of the stock company. Webb, who as an 
 actor was able to combine rare pathos and even passion with his low 
 comedy,* left Edinburgh to join the Dublin company as principal low 
 comedian. During the following year he became manager of the Dublin 
 Theatre, but eventually gave it up, after which he confined himself to tour- 
 ing with his brother Charles in such pieces as the Comedy of Errors, in which 
 their likeness to one another served them in good stead. Webb died in 
 1867, and is now comparatively forgotten ; a fate that should not have 
 been his, for as an actor, in his own line, he had few equals. 
 
 On the 19th the Miss Pyne and W. Harrison company again ap- 
 peared. On the 1 2th of March Miss Rebecca Isaacs, who had been 
 playing to very bad houses for some weeks, took her benefit. On 
 Monday, March 14th, Gourlay played Bauldy in The Gentle Shepherd, and 
 on the following evenings in several of his favourite characters. 
 
 Mrs Stirling commenced a brief engagement on March 21st, appear- 
 ing in her inimitable impersonation of Peg Woffington in Masks and 
 'Faces. Triplet = Gourlay ; Mabel Vane = Miss Page. Masks and Faces 
 was again played on the 21st, 22nd, 23rd, and 24th, and on the 26th for 
 Mrs Stirling's benefit. 
 
 Sam Cowell appeared on the 26th, singing " Robinson Crusoe," 
 " Billy Barlow," and other of his inimitable songs during the week. At 
 this time Miss Bufton, the dancer, and Miss Cruise, both from the 
 Royal, joined Wyndham's company. 
 
 The house was closed from Wednesday, April 20th, to Tuesday, 
 26th, on account of the Fast-day. It reopened on the latter date with 
 
 * It should be remembered that Webb preceded Robson, Belmore, Anson, and Toole in this line. 
 
1852-3.] The Annals of the Edinbtirgh Stage. 453 
 
 Phelps as Sir Pertinax in the Man of the World, and he took his benefit 
 on May 7th, again playing Sir Pertinax, and Justice Shallow in Henry IV. 
 
 On May 18th Gourlay, who had been starring since March, took his 
 benefit, playing in the Heart of Midlothian. 
 
 On the evening of May 24th, at about a quarter to five, a workman 
 in the Theatre observed flames issuing from one of the lower private 
 boxes next the stage, and immediately gave the alarm. In an hour's 
 time, however, the building was in ruins. The fire seems to have 
 originated in the musicians' room, where gas was burned all day. Four 
 days previous to the fire Mrs Wyndham (the manager's house was above 
 the Theatre) had given birth to a son,* and had to be carried to a 
 place of safety. 
 
 This, the first burning of a Theatre in Edinburgh, was not alto- 
 gether an unmixed evil, for the Theatre, as it then stood, with the stage 
 where the auditorium is now situated, was highly inconvenient, not to say 
 dangerous. If the fire had occurred at night when the house was full, it 
 would have been impossible for more than a very few to have escaped, 
 the passages being not only long, but narrow. The building was so 
 unsuitable, in fact, that the proprietors had considered as to the 
 expediency of pulling it down and rebuilding, when the fire saved them 
 the trouble of making up their minds. 
 
 * F. W. Wyndham, now co-proprietor and manager of the Royal Lyceum, Edinburgh. 
 
CHAPTER XXIII. 
 
 LAST YEARS OF THE ROYAL. 
 
 |T was fortunate for Wyndham that the Theatre Royal was 
 standing vacant and ready for his occupation at the time when 
 the Adelphi was burned. He entered immediately into pos- 
 session, and his first bill there reads as follows : — " The public 
 are respectfully informed that the Theatre Royal will open for the 
 summer season on Saturday first, June i ith 1853, under the management 
 of Mr and Mrs Wyndham." 
 
 The first piece was Simpson & Co. Charles Bromley = Wyndham ; 
 Peter Simpson = Anthony Younge ; Mrs Peter Simpson = Mrs Wyndham, 
 her first appearance since her severe indisposition. 
 
 Wyndham announced himself as both acting and stage manager ; 
 Smith was deputy stage director and prompter ; Channing, scenic artist ; 
 R. B. Stewart, musical director. 
 
 Ox\]\xxi& 2']\\\, Rivals. Captain Absolute = Wyndham ; Sir Anthony 
 Absolute = A. Younge ; Sir Lucius O'Trigger = Josephs ; Acres = Gourlay ; 
 Fag = E. D. Lyons; David = Mungall ; Mrs Malaprop = Miss Nicol ; 
 Julia = Miss Page; Lydia = Miss Maria Stanley; Lucy = Miss Julia 
 James.* 
 
 On July gth one of the most interesting first appearances recorded in 
 this volume took place. It was that of John Lawrence Toole, who is 
 still (and may he long continue to be), one of the brightest, most genial, 
 and warmest hearted members of the profession. 
 
 The bills were headed, " First appearance of the popular comedian, 
 Mr J. L. Toole, from the Queen's Royal Theatre, Dublin." He had 
 arrived on the same day in Edinburgh, and after attending rehearsal, 
 
 * Afterwards married Hill. 
 
1 853-] The Annals of the Edinburgh Stage. 455 
 
 he repaired to his lodgings tired and weary, and went to bed to get a 
 little rest, leaving, however, strict injunctions as to when he was to be 
 called. His landlady forgot all about him until the arrival of the call 
 boy from the Theatre to inquire where he was. There was just time 
 to put on his clothes and rush up to the Theatre, there to dress and 
 hasten on to the stage. In his hurry on entering he tripped his foot and 
 almost fell head first, a circumstance that caused a loud peal of laughter, 
 and made him feel nervous during the whole performance. The part 
 he played was Hector Timid in the farce of Dead Shot, and, fearful of 
 the notice he would get in the papers next day, what was the new low 
 comedian's surprise to find that the critics were unanimous in pointing 
 out how appropriate to the character was the nervous manner and 
 faltering gait that he had exhibited, and specially complimented him on 
 his happy method of making his entrance on the stage. 
 
 August 1 6th saw the first appearance of Miss Featherstone ; and on 
 the 27th Toole " chaunted the melancholie historic of Villikins and his 
 Dinah " for the first time. September 7th, " farewell benefit of E. D. 
 Lyons, prior to his departure for the Royal Surrey Theatre." 
 
 On September 12th Charles Mathews appeared ; and on the 19th 
 what was perhaps the very first pioneer of the present travelling company 
 system visited Edinburgh. This was the Haymarket company, who 
 announced themselves as follows : — " First appearance of the following 
 ladies and gentlemen of the Haymarket Company : — Messrs Howe, 
 Lambert, Rogers, C. Selby, Braid, Edwards, Ellis, Mrs Seymour, Mrs L. 
 S. Buckingham, Mrs Stanley, Mrs Horn, Miss E. Woulds, Miss Carroll, 
 and Mrs Clark. 
 
 Toole took a benefit on September 29th, when he brought out a new- 
 piece by Thomas and J. M. Morton, entitled Words on the Wall. On 
 October 24th the season ended with Mr and Mrs Wyndham's benefit. 
 
 The winter season opened on November 12th 1853. Lambert (late 
 of the Haymarket Company) was engaged as stage manager, Alexander 
 Mackenzie was retained as musical director, and Messrs B. Tannett and 
 W. Wilson were the scenic artists. 
 
 On November 19th The Lady of Lyons was performed, when 
 Wyndham played Claude Melnotte, "his second appearance in that part." 
 The other characters were distributed as follows : — Glavis = Toole ; 
 General Damas = Lambert ; Second Officer = Hill ; Pauline=Miss Page; 
 Madame Deschappelles = Miss Nicol ; Widow Melnotte = Mrs Newton. 
 
 I 
 
456 The Annals of the Edinburgh Stage. [1853-4. 
 
 On December loth the play of Lord Darnley was performed, with 
 Wyndham as Henry Darnley and Toole as Sandy M 'Screw, a barber, 
 which was probably the only Scottish part he ever appeared in, but which, 
 be it noted, he did not play as a Scotsman. To get out of the difficulty 
 he introduced a few lines explaining that, as he had not been long in Scot- 
 land, he would play in his usual way. Toole, in fact, save in burlesque, 
 never played a Scottish part. 
 
 During an operatic season at the Royal, the company flitted to the 
 Amphitheatre opposite to the Surgeons' Hall, and there produced the 
 pantomime Harlequin Dick Whittington. The production does not 
 seem to have been such a success as it deserved. This was probably 
 owing to the intense cold in the building, which was only a wooden erec- 
 tion, with a roof so much out of repair, that on one occasion the snow fell 
 on the audience during the performance. The company was glad to 
 return to its comfortable quarters in the Royal about the end of January 
 1854. 
 
 On February 6th Toole played I ony in She Stoops to Conquer, 
 and on March 7th Oliver Twist was played. Toole, as the Dodger, 
 introduced for the first time a new song, written expressly for him, en- 
 titled " The Dodger's Lament." This was written by Hill, a member of 
 the company. 
 
 It may be mentioned here that Edinburgh audiences were far more 
 critical then than they are now, knew good acting when they saw it, 
 and as a rule encouraged it both with applause and patronage. About 
 Toole they made no mistake, and took to him at once ; in fact, he had 
 not been here many weeks when he became the favourite of the company. 
 It is questionable, in fact, if any actor— even Mackay himself — was ever so 
 much liked by an Edinburgh audience as Toole in his time, and for the 
 matter of that is yet by the real playgoers of our city. 
 
 On the 1 8th of the same month Powrie made his first appearance for 
 the season, and on the 25th a drama, written expressly for the Theatre 
 Royal, Edinburgh, by G. W. Shands, and called Whisky and Water was 
 produced, the plot of which had been suggested by Cruickshank's " Botde." 
 Toole played the part of Dicky Drudge, a pot boy, a character in which 
 he is well remembered. 
 
 On April ist, the " farewell engagement" of Miss Louisa Pyne and 
 company was announced. Phelps made his first appearance at the Royal 
 on the lOth, playing Werner in the play of the same name. Miss Nicol 
 
1 854-] Tlie Annals of the Edinburgh Stage. 457 
 
 took her benefit on April 24th, being the last night of playing until May 
 
 I St. 
 
 When the Theatre reopened (May ist) the play oi Sylvester Dagger- 
 wood was produced, with Toole in the character of Sylvester, in which he 
 gave imitations of Charles Kean, Buckstone, Harley, Wright, Paul Bed- 
 ford, T. P. Cooke, &c. 
 
 On May 1 7th Powrie took his benefit, and played Richelieu for the 
 first time. 
 
 On the following evening (May i8th) Toole, who was engaged to go 
 to the St James' Theatre, London, under Mrs Seymour's management, 
 took a farewell benefit, with the following programme : — The nautical 
 drama of Tom Cringle. Tom Cringle = Wyndham ; Gipsy Jack = Toole. 
 To be followed by an entirely new and original burlesque (written ex- 
 pressly for this occasion), founded on the celebrated ballad, entitled The 
 Loves of Willikind and his Dinah ; or, the Cup of Cowld Pizon. Sir 
 Kohinoor Quisby, a rich merchant and the cruel " parient " = Barry ; Sir 
 Claribel, the intended husband = Courtney ; The Worshipful Ledger de 
 Ludgate = C. James; Young Master Willikind, clerk to aforesaid = J. L. 
 Toole; Slip and Fetch, a pretty page = Miss M. Newton; The Fair 
 Mistress Dinah, just sixteen years old, and looks it = Miss Nicol ; Chorus 
 = Hill, who was also the author of this amusing little piece. 
 
 After Willikind, Toole appeared as Master Dobbs,* and sang, for the 
 first time, a new and original song called " He, She, and the Postman," 
 after which was played Boots at the Sivan. in which Toole was Jacob 
 Earwig, and the whole concluded with the first act of Oliver Twist. 
 
 May 22nd, the last night of the season, being for the benefit of 
 Mr and Mrs Wyndham, Rob Roy was performed, with George Webster 
 as the Bailie. 
 
 When the Royal opened for the summer season on June 17th 1854, 
 Arthur Woods, from Manchester, joined as principal low comedian in 
 place of Toole, who had gone to London, where he opened at the St 
 James', October 2nd 1854, as Sam Pepys in The Kings Rival. Woods 
 was a quaint, dry actor of considerable ability. A few other new hands 
 were engaged, but the company remained pretty much the same as during 
 
 * The part of Master Dobbs is from the farce of the Omnibus, originally written for Power, the Irish 
 comedian. Dobbs is not the principal part, but somehow Toole contrived to make it much funnier than any 
 other in the piece ; it was a most ludicrous picture of a spoilt, childish, over-grown lout. 
 
458 The Annals of the Edinburgh Stage. [1854-5. 
 
 the winter. Lambert, besides playing old men admirably, was again 
 stage manager ; and Mackenzie, musical director. 
 
 A piece entitled The Sea of Ice, with very elaborate effects, which 
 opened the season, ran some ten nights ; on July ist, was performed 
 Masks and Faces, with Mrs Seymour as Peg Woffington. 
 
 On August 14th Charles Reade's drama The Courier of Lyons 
 was played for the first time in Edinburgh. 
 
 For September ist was announced the benefit and last appearance of 
 H. Saker, who, it may be mentioned, was going to fill an engagement at 
 the Princess' Theatre, London. It was not his last appearance, however. 
 The piece presented was a new comedy by Ebsworth, and played for the 
 first time on any stage. It was called £150,000 ! The cast was — Cap- 
 tain Fitzherbert = Arthur Stirling ; Lieutenant Briggs = B. Bowler ; Major 
 Moubray = Kelsey ; Colonel Dynewell = C. Lloyds ; Sparkle = Arthur 
 Wood ; Gripe = Danvers ; Catch = Patrick ; Lady Charlotte Playful = 
 Mrs Mortimer; The Hon. Mrs Falconer = Miss Nicol ; Grace Falconer 
 = Miss Page. 
 
 Mungall had a farewell benefit on September 15th, previous to his 
 departure for Australia, when Rob Roy was played. Rob Roy = Powrie ; 
 Bailie Nicol Jarvie = G. Webster; Rashleigh = Wyndham ; Francis = B. 
 Bowler ; Major Galbraith= H. Saker ; Dougal = Mungall ; Andrew Fair- 
 service = Danvers ; Helen = Mrs Wyndham ; Diana Vernon = Mrs 
 Mortimer. 
 
 The summer season closed on October 24th. 
 
 The winter season (1854-5) opened on November 4th. 
 
 On December 20th, after the play The Iron Chest, the pantomime 
 Harlequin and the Three Bears was produced. It was written by J. 
 B. Buckstone, " with a few occasional sparks from the pen of the author 
 of Harleqtnn Whittington." The scenery was by B. Tannett, and it may 
 be mentioned that the transformation scene which was introduced was 
 probably the first ever seen in Edinburgh. 
 
 On March 3rd, Hamlet. Hamlet = George Melville, from the Theatres 
 Royal, Bath and Bristol, his first appearance here. 
 
 On the 5th, Wright, the comedian, made his first appearance here, 
 playing Paul Pry. On the same evening the Cricket on the Hearth was 
 played, with Wright as Tilly Slowboy, Miss Helen Bennett as Dot, and 
 W. Cooper as Caleb Plummer. William Cooper, who on this occasion 
 appeared in the part since rendered immortal — if the expression may be 
 
1 855-] The Annals of the EdMnrgh Stage. 459 
 
 allowed — by Toole, had accompanied that first of low comedians to 
 London to fill the old men parts, which he did admirably, at the St James'. 
 That establishment, however, did not prove a success, so Cooper and 
 Toole gravitated back to their old quarters with Wyndham. 
 
 On March 19th, Miss Charlotte Cushman played Romeo to the 
 Juliet of Miss M. A. Bellair, Miss Nicol being the Nurse, and Wyndham 
 the Mercutio. 
 
 On the 26th Toole again appeared, it being his first appearance since 
 being in London. He evidently intended only to pay a flying visit to 
 Edinburgh, for on April 25th his benefit and the last night of his engage- 
 ment was announced. An entirely new drama entitled Jack and Jacks 
 Brother, was played on this Qccasion. It was by J. B. Johnstone, and 
 the character of " Joe the Orphan," which Toole then created, afterwards 
 became one of his most popular parts. The song of " The Pathetic Love 
 of the Maid of Westminster," otherwise known as the " Ratcatcher's 
 Daughter," was introduced and sung for the first time in Edinburgh. 
 The other parts in the drama were cast as follows : — Christopher Cable = 
 Cooper; Luke Hatfield = Harald ; Abel Allnut = F. Carter. Although 
 this was announced as his last performance, Toole did not leave ; perhaps 
 it was one of his little jokes ! 
 
 On May 28th Hector Mackay, son of the famous Mackay, made his 
 first professional appearance in Edinburgh, playing his father's great part 
 of the Bailie. Young Mackay seems to have been far from bad as an 
 actor ; he afterwards became a pantomimist (pantaloon), and went to 
 America. 
 
 On the same evening Done on Both Sides was played for the first 
 time here. Mr Whifiles = W. Cooper ; Mr John Brownjohn = Wyndham ; 
 Mr Phibbes = J. L. Toole; Mrs Whiffles = Miss Nicol; Lydia=Miss 
 Anstey. 
 
 The last night of the season was on June nth, being for Mr and 
 Mrs Wyndham's benefit ;' the Rent Day being played, along with, for the 
 first time in Edinburgh, The Bould Soger Boy. Miss Judy M'Cann = 
 Wyndham ; Prettyman = Toole. 
 
 The summer season 1855 opened on June 27th with The Battle of 
 Alma (by arrangement with Edmund Glover). The hour of commencement 
 was eight o'clock, and the prices were reduced. Boxes were now 2s. 6d. ; 
 pit, IS. 6d. (second price at 9.30, is.) ; galleries, is. and 6d. ; private boxes, 
 2 IS. and 15s. 
 
460 The Annals oj the Edinburgh Stage. [1855. 
 
 In The Battle of Alma there were 30 new scenes, and 2 new grand 
 moving panoramas, 3 military bands were employed, there were 50 actors 
 and actresses in the company, and 200 auxiliaries were specially engaged. 
 At such prices it is certainly difficult to see how it can have paid. Mrs 
 Wyndham took the part of Alice M'AUister; Mrs Atkins, the Highland 
 Widow; Edmund Glover, Harry Bluff; and J. L. Toole, Dicky Roll, a 
 drummer. On July nth, first appearance in Scotland of Creswick, when 
 Macbeth was played. 
 
 During the season Wyndham, with a praiseworthy determination to 
 outstrip, if possible, the best traditions of the Edinburgh Theatre, set 
 about the revival of Shakspere's Henry VIII. upon a scale of complete- 
 ness that had never been surpassed, and perhaps only equalled by Charles 
 Kean at the Princess', London. It took several months in the prepara- 
 tion, but when completed it at once proved worth the labour, thought, 
 and expense. 
 
 The first performance was on October 2nd, the cast being as follows : 
 — Henry VIII. = Harald ; Cardinal Wolsey = (alternate nights) Powrie 
 and George Melville ; Cardinal Campeius = Foote ; Capucius = Douglas ; 
 Cranmer = Gordon ; Duke of Norfolk = Fenton ; Duke of Buckingham = 
 (alternate nights) George Melville and Powrie ; Duke of Suffolk = Vernon ; 
 Earl of Surrey = Wyndham ; Gardiner = W. Cooper; Lord Sands = J. L. 
 Toole; Cromwell = E. D. Lyons: Queen Katharine = Mrs Wyndham; 
 Anne Bullen = Miss Wyatt ; An Old Lady = Miss Nicol. A capital dance 
 of shepherds, preceded by sixteen drummers and fifers, and the same 
 number of torch-bearers, was introduced. 
 
 Toole's impersonation of Lord Sands was unsurpassable ; the way 
 in which the young actor transformed himself into the old tottering 
 courtier with an imbecile giggle was an admirable study. Considering 
 the prices charged — 2s. 6d., is. 6d., is., and 6d. — it is extraordinary how 
 the production can have paid, even with the crowded houses which it 
 drew until the 24th of October, that being the last night. 
 
 Mr and Mrs Leigh Murray appeared on October 30th, and acted for 
 several nights ; and the summer season came to a close on November 1 7th, 
 with the usual benefit to Mr and Mrs Wyndham. 
 
 An extra opera season opened on November 19th. On the 26th 
 Rob Roy was played with the following cast : — Rob Roy = Harald ; Diana 
 Vernon = Madame Weiss; Bailie Nicol Jarvie = Fisher; Dougal = 
 Douglas; Major Galbraith = Weiss ; Francis = Sims Reeves. It is worth 
 
1855-6.] The Annals of the Edinburgh Stage. 461 
 
 noting that August Manns, the renowned orchestral conductor, was 
 connected with the orchestra that travelled with this opera company.* 
 
 The winter season of 1855-6 opened on November 28th. On 
 December 3rd The Midsunmier Night's Dream was brought out on the 
 same scale of completeness and splendour as Henry VIII. Wyndham 
 said on the bills that he " avails himself of this opportunity to acknowledge 
 the courtesy of Samuel Phelps, Esq., of the Theatre Royal, Sadler's Wells, 
 who has in the kindest manner favoured him with his valuable advice and 
 assistance in the production of the play." 
 
 The scenery was again by B. Tannett, and the properties by Henry, 
 of Sadler's Wells Theatre. The cast was as follows : — Theseus = Harald ; 
 Egeus = Carter ; Lysander = Wyndham ; Demetrius = E. D. Lyons; Quince 
 = W.Cooper; Snug = Douglas ; Snout, a tinker = Danvers ; Bottom, 
 a weaver = J. L. Toole; Flute, a bellows mender = Fisher ; Hippolyta 
 = Mrs E. D. Lyons ; Hermia= Miss Wyatt ; Helena = Mrs Wyndham ; 
 Oberon= Miss Maria Simpson; Titania=Miss C. Brock; Puck = Miss 
 H. Bennett. It deservedly proved almost as great a success as 
 Henry VIII., and was only withdrawn on December 20th, to allow of the 
 pantomime yaf/& and the Beanstalk being produced. 
 
 What was announced as the "third season of grand opera" com- 
 menced on January 21st 1856, with a performance of // Trovatore. Opera 
 was given on the Mondays, Tuesdays, Thursdays, and Fridays of each 
 week, the stage being occupied on the other two evenings of the week by 
 the dramatic company. The last evening of the opera company was on 
 February 29th. 
 
 On March 3rd Miss Aitken, from the Theatre Royal Glasgow, made 
 her first appearance, playing Julia in the Hzmchback to Powrie's Sir 
 Thomas Clifford. It is interesting to note that on March 15th Toole 
 played Father jean in the Ragpicker of Paris for the first time. 
 
 A splendid revival of Macbeth had been underlined in the bills for a 
 considerable time, and on Monday, 17th March, was produced with com- 
 plete success. Powrie and Edmund Glover alternated the parts of 
 Macbeth and Macduff", the other parts being cast as follows : — Banquo 
 = Harald ; Rosse = Wyndham ; Fleance = Miss S. Davis ; Witches = W. 
 Cooper, J. L. Toole, and Fisher; Hecate = T. Lyons, from the Theatre 
 Royal, Liverpool, his first appearance here ; Singing Witches = Misses H. 
 
 * Grove's Dictionary of Music and Musicians. 
 
462 The Annals of the Edinburgh Stage. [1856. 
 
 Bennett, Nicol, Anstey, and M. Davis ; Lady Macbeth = Mrs Wyndham ; 
 Lady Macduff= Miss Wyatt ; Gentlewoman = Mrs Atlcins. 
 
 Toole's impersonation of the Second Witch is said to have been 
 extremely grotesque. The version of this play used was Shakspere's 
 text, with almost no alterations except the excision of the anti-climax to 
 the play, and the retention of the Middleton and Locke interpolations. 
 
 Macbeth did not run nearly so long as either Henry VIII. or Mid- 
 summer Night's Dream, and was replaced the following week by a return 
 visit of the Italian Opera Company. 
 
 On April 15th Toole took his benefit, when was T^\2Ly&(i Jonathan 
 Bradford, in which he sustained the part of Caleb Scrummade, and sang 
 the " Ratcatcher's Daughter ; " after which Toole s Appeal to the Public. 
 Felix Rosemary = Toole. This was followed by Toole singing a 
 " favourite song ; " after which A^i9. / Round the Corner ; the whole to con- 
 clude with the drama of Toodles, in which Toole played Mr Timothy Toodles. 
 
 The last night of the season was on April 21st, when Mr and Mrs 
 Wyndham took their customary benefit. 
 
 The summer season for 1856 opened on May 3rd. On August 25th 
 the " Farewell nights of the popular comedian, Mr J. L. Toole," headed 
 the bills in bold type ; immediately underneath being an intimation of 
 Fisher's last week," previous to his departure to America." 
 
 Toole's farewell benefit was on the evening of August 29th, when he 
 respectfully announced that, " having been engaged at the Lyceum, 
 London, he trusts that the great and highly flattering patronage always 
 accorded to him will be extended again on this occasion." The per- 
 formance commenced with Paul Pry, in which Toole " hoped he didn't 
 intrude " for the first time in Edinburgh. He then appeared as the 
 " Yankee Gal," and sang " Bobbing around Mary Anne," and " Polly 
 won't you try me, oh ! " after which he spoke a few farewell words to his 
 friends. These were followed by the farce Domestic Economy, in which 
 he played John Grumley ; the play scene from Midsummer Night' s Dream, 
 was then given, with Toole as Bottom ; the whole concluding with Your 
 Lifes in Danger. John Strong, first time in Edinburgh = Toole. 
 " Tickets to be had of Mr J. L. Toole, 23 Union Place " 
 
 A notable first appearance was that of Mr and Mrs Alfred Wigan 
 from the Olympic Theatre, London, on September 15th, when they 
 played as John Mildmay and Mrs Hector Sternhold in Still Waters Run 
 Deep. The last night of the season was on October 22nd. 
 
1856-7.] The Annals of the Edinburgh Stage. 463 
 
 The Theatre only remained closed until November ist, when it 
 reopened for the winter season with The Honeymoon. The Duke = T. 
 Mead; Rolando = Wyndham ; Count Montalban = E. D. Lyons; Jaquez 
 = Gomersal ; Juliana = Mrs Wyndham; Volante = Miss Isabel Adams; 
 Hostess = Miss Nicol, Gomersal, who made his first appearance here 
 in 1852, had been engaged from the Theatre Royal, Manchester, to fill 
 Toole's place ; although a fairly humorous comedian, he never succeeded 
 in making himself a favourite. A very good ballet corps, headed by the 
 Misses Gunniss, was engaged this season. 
 
 The pantomime Little Red Riding Hood was produced on De- 
 cember 22nd. 
 
 The bill for Saturday, February 7th 1857, announced the " first appear- 
 ance for eight years of thecelebrated and popular tragedian, Barry Sullivan." 
 
 On Monday, February 9th, Barry Sullivan played Richelieu, the 
 other parts being cast as follows : — The Chevalier de Mauprat = 
 Wyndham ; Baradas = Harald ; Joseph = Marker ; De Berringhen = E. D. 
 Lyons; Louis XIII. = Mowbray ; Gaston, Duke of Orleans = Irving ; 
 Julie = Miss Jane Howard. 
 
 This was the first occasion on which Henry Irving appeared in 
 Edinburgh. As is well enough known, he had made his first professional 
 appearance at Sunderland on September 29th 1856, on which occasion 
 he also played Gaston. 
 
 On February 19th, Memorandums in the Red Book, in which Irving 
 played the Count de Cerney, and on the same evening he took Lieutenant 
 Pike in the drama Black-Eyed Susan. On February 24th, Rob Roy, after 
 which The Corsican Brothers ; the twin brothers by Edmund Glover, and 
 Baron Giordine= Irving. 
 
 Charles Verner commenced a starring engagement on February 26th, 
 opening in Richelieu, in which Irving again played Gaston, and in the 
 after piece of The Pilot, he took the part of Captain Manson. 
 
 On March 2nd Falconer's play of The Cagot was produced, Charles 
 Verner as Raoul, the Cagot ; and Irving in the small part of Antoine. 
 Miss Helen Faucit opened a brief engagement on March 9th ; and on 
 the 1 6th Madame Celeste appeared, playing until the 28th. On her 
 benefit night (27th) she played Harlequin in a few scenes of pantomime, 
 Gomersal being Clown " for the first time, and this night only." This 
 entertainment was received so well that it was repeated the following 
 night, when Gomersal was again Clown " for this night only." 
 
464 The Annals of the Edinburgh Stage. [i857-8- 
 
 On May 13th, Hamlet; Horatio = Irving. May i6th, Macbeth; 
 Banquo = Irving; Macduff = Charles Verner ; Lady Macbeth = Mrs 
 Wyndham ; and on the same evening, TJie Kings Musketeers, in which 
 Irving played Athos. On May 21st, Douglas ; Lord Randolph = Irving. 
 On May 23rd, Richard III. ; Catesby= Irving. On May 26th, for the 
 benefit of Charles Verner, The Cricket 07t the Hearth; John Peerybingle 
 = Verner, first time in Edinburgh; Caleb = Harker ; after which Teddy 
 the Tiler ; Henry = Irving; the whole concluding with The Rag Picker 
 of Paris ; Father Jean = Verner, first time here; Comte St Fruilan = 
 Irving. 
 
 The season closed on June ist with Mr and Mrs Wyndham's benefit. 
 
 Five days afterwards (June 6th) the summer season opened, when 
 Sir William Don appeared in three pieces— Montague Spicer, in Lifes 
 Trial; Bob Ticket, in An Alarming Sacrifice ; and Dandie Dinmont, 
 in Guy Mannering. 
 
 During the month of June Toole and Miss Louise Keeley both 
 appeared. The cast of Brough's burlesque oi Perdita, on July 21st, is 
 worth noting : — Leontes = W. Gomersal ; Polixenes = Josephs ; Florizel 
 =:Miss Louise Keeley; Autolycus = J. L. Toole; Camillo= Irving ; 
 Hermione= Miss Nicol ; Perdita=Miss Foote ; Paulina = Mrs Atkins. 
 July 27th, benefit of Miss L. Keeley, Paul Pry. Paul Pry = J. 
 L. Toole; Harry Stanley = Irving. August 14th, London Assurance. 
 Dazzle = Irving ; Mark Meddle = Sir W. Don; Adolphus Spanker = J. L. 
 Toole; Grace Harkaway = Miss L. Keeley. On October 7th Alexander 
 Mackenzie, the talented leader of the orchestra, died, and on the following 
 evening Wyndham addressed a few sentences on the subject to the audience. 
 The season terminated on November i8th with the usual benefit to Mr 
 and Mrs Wyndham. 
 
 Nothing falls to be recorded during the progress of the following 
 winter season (1857-8) until December 31st, when the pantomime 
 Little Bo-Peep was produced. In this Irving played the part of 
 " Scruncher," Captain of the Wolves ; Miss Foote was Little Bo-Peep. 
 In the Harlequinade the part of Clown was taken by Joel Benedict, who 
 at Vauxhall in 1844 had appeared as "Joel il Diavolo." In 1852 he was 
 acting manager to Charles Dillon, and he died April 3rd 1887.* 
 
 The season closed early in March, and the house opened on April 
 
 * Ei'a, 
 
1858-9.] The Annals of the Edinburgh Stage. 465 
 
 28th 1858 for the summer season, when Miss E. Webb and J. L. Toole 
 were both engaged as stars, and Miss Sophie Miles, from Manchester, 
 made her first appearance. 
 
 On June 7th was brought out James Ballantine's"new Scottishdrama," 
 The Gaberlunzie Man. The Gaberlunzie = George Webster ; William 
 Nairn = Ersser Jones ; Walter Hepburn = Douglas ; Walter Blackburn = 
 Foote ; Henri Chamfleur=E. D. Lyons; Sir George Warrender = 
 Wallace; Peter Pinglepenny = Fisher ; Organist = Irving ; Tam = W. 
 Gomersal ; Jack M izzen = Lefifler ; Matty Hepburn = Miss Nicol ; Mary 
 Melville = Miss M. Davis; Lady Warrender= Mrs E. D. Lyons; Phemie 
 Blackburn = Miss C. Lucette. 
 
 This piece possessed qualities which should have insured it a much 
 more lasting popularity than it ever attained to. The characters are sketched 
 with an able hand, while the lyrics with which it is studded are of acknow- 
 ledged beauty. On its first production it only ran six nights. 
 
 On June 23rd the performance was honoured with the presence 
 and patronage of the Duke of Atholl, Grand Master Mason of Scotland, 
 when Wyndham delivered an address, specially written for the occasion 
 by Brother Ballantine. On August 6th Toole, who had been acting since 
 the commencement of the season, took a benefit, and he made his last 
 appearance the following evening. The season concluded with Mr and 
 Mrs Wyndham's benefit on October 25th. 
 
 The first important production of the winter season of 1858-9 — the 
 last season of the old Royal — was the pantomime The Sleeping Beauty, 
 produced December 27th. Irving appeared as Venoma, the spiteful 
 fairy, of which performance the 5^f/jw«« remarked that "Mr Irving as 
 Venoma was a model of a disagreeable and spiteful genius." F. Lawrie 
 was the Clown. 
 
 Charles Dillon appeared on March 7th as Louis XI. Ersser Jones 
 played Fran9ois de Paule; Irving, Coitier; and Miss Sophie Miles, Marie. 
 y\.2s^%\}n., Hamlet. Hamlet = Dillon ; Claudius = Irving ; Polonius 
 = Ersser Jones ; First Gravedigger = George Smythson ; Ghost = Wynd- 
 ham ; Ophelia = Miss Sophie Miles. 
 
 March 14th, Rob Roy. Rob Roy = George Melville; Bailie Nicol 
 Jarvie = Fisher ; Rashleigh = Irving. March igth, Richard III. ; Gloster 
 = George Melville ; King Henry IV. = Irving ,• Mary Queen of 
 Scots ; Jasper Dryfesdale= Irving ; concluding with The Lady of the Lake ; 
 Malcolm Gr3eme= Irving. 
 
 2 
 
466 The Annals of the Edinburgh Stage. [i859- 
 
 April 13th, for the benefit of Miss Nicol, The Rivals. Captain 
 Absolute = Wyndham ; Falkland = George Melville ; Bob Acres = George 
 Smythson ; Fag= Irving ; Mrs Malaprop = Miss Nicol. 
 
 May 2nd, benefit of Irving, Ladies Battle. Le Baron = Ersser 
 Jones ; Henri = E. D. Lyons ; Gustave= Irving ; after which The Review. 
 To conclude with, for the first time in Edinburgh, A Poor Girl's Temp- 
 tation. Walter Warren = Irving. 
 
 May 9th, benefit of Mr and Mrs Wyndham, School for Scandal. 
 Careless = Irving ; Charles Surface = Wyndham ; Lady Teazle = Mrs 
 Wyndham. To be followed by a " fanciful, flitting, moving, removing, 
 valedictory sketch. Please Copy the Address, written expressly for the 
 closing nights of the Theatre Royal, Edinburgh, by E. L. Blanchard." 
 Mr Wyndham, by himself; Spirit of the Past= Miss Nicol ; Spirit of the 
 Future = Miss M. Davis; Mrs Wyndham, by herself. 
 
 ^^y 2\sX, Macbeth. Macbeth = George Melville; Banquo = Wynd- 
 ham ; Macduff = Irving. 
 
 May 23rd, Rob Roy and The Pilot. The Pilot = Irving. 
 
 We now have to chronicle the last night of the old house (May 
 25th 1859). Impressed with a sense of the interest attaching to the 
 occasion, a committee of gentlemen, friends of the drama, under- 
 took to make arrangements for imparting to the performance a 
 marked and interesting character, with a view to recall and perpetuate, 
 as far as possible, the many historical recollections connected with the 
 history of the Scottish Stage which were inseparable from the building. 
 The committee were also anxious to show the estimation in which the 
 playgoing public held the exertions of Mr and Mrs Wyndham for their 
 entertainment. In both respects they were completely successful, and 
 any who were present on that memorable evening, and who are still alive 
 to bear witness to the fact, will attest that the occasion was one that could 
 not easily be forgotten. 
 
 The house was crowded in every part; the boxes containing the very 
 best of the Edinburgh notables. The programme has been reproduced in 
 fac simile for the present work. A pamphlet containing a sketch of the 
 history of the Theatre was written for the occasion by Chambers, and 
 distributed in the house. The address delivered by Wyndham was as 
 follows : — 
 
 " Whate'er we do, howe'er our parts are cast, 
 Tis ever sad to say, — this is the last. 
 
THEATEE-ROYAL EDINR. 
 
 SOLE LESSEK, K. i! WTNDH4M. Oo lEIXCES STUKTI" 
 
 FINiLI. CI.OSIN 
 
 OF THE THEATRS-ROl AL. ' - . , 
 
 Tbo Public \t rtrpectfuWy infcnBcd tfatt » C'ooimitt«fi of 0«:>tlcmcs, Friends of the Dmtno, bMfKftiodl; undertaken lo make 
 HTiagunoDU for imparting to tha perfonnftncc of Thie Krenlng a muked uii) ioUrcetiog cliantAer. witb a viev; in rocitll uid 
 t>«[petiute, u I«r Ba p«fiible. the man; dettghtful recollccttons connected with the histcrf of tlie Scottiih Sia);o. nhich are 
 inMp«nbl« fteB (he Suilding ; tnd for lb« purport of ■boiring, u the CommitLM h&Tt l>efn kind cnongb to ur, " tbc r«<. 
 
 '»pect th«]r eAterlain for Mr nnd hirst Wtudbax. and tLeir high appror&l of the lOkriKT i» which the th«atrictt! amuMniftiiti 
 
 ' ofEdinbnrgh have been ccmlurted i;D<ierthcir management." 
 
 The Box Finn will b« cxhibiicd at Mr WOOD'S EOOMS, ♦:» George Street, where apj.liiMiiou* fur Scate m'lsi be uiade 
 
 BOXES AND STALLS, 5s PIT, 2a ; LOWBE GAIXEEY, Is : UPPEE GALLEEY. 6d. 
 
 T:i« K'lfcsnnaivca wHi 
 
 h lit Faiourit* Comtd}', Wnttrr Ij ToK Tatlo* vid C«*uu Uurt Hm]*.. •niitlad 
 
 MASKS & FACES 
 
 Triplti bj Ut E&kU'CD CLOVKB.LiMMcftiiaTlMMtr-BopIiDd PHiit«>' Tkoln, Clugew. wtio bit fipttiatd t dciit* lo ipp44c aa ibii occmaa 
 KinPit Viscb, Ur F D. LIOKS— C0IU7 L'ibWr kr Ui FOOTE— Qoin h^'UrKSSSBR JOKES-Smil bj Ur flSBKR. 
 
 Call Bofkt Ur K. .SA£CB^LT*inubnt Trlpltt b; MiXn JOKES-Pomp<r bj Htticr THOMPSON. 
 
 BoapMbf Mr IBVIKC-HiadwlM ij Mt TANDEXBCFF-CoIaiidaT b? Ut W.\tLi.CE~Biud»cli>7 Mr GABROU.. 
 
 Pis Wc&Dgtos bj Mn WTXDUAM 
 
 Kit'rlliTtbTUiMU. OAVIS-UnTiiplclbj Mr* E. JONES— Boioltoa bj ILit M FUOTE-Mald )«< MimTHOUPSO K. 
 
 Mihtl VnTii) b^ Min 30I>H1E UILES. 
 
 U- 
 
 VypHAlI .ilMttiw 
 
 A FAREWELL ADDRESS 
 
 T', b« foUb*«4 tf tha L«ii^luibla ?>»« of 
 
 HIS LAST LEGS 
 
 Ur Falli O'CallifbaB. a Uam ctCttia* kn kU Lait L*^, by Ur WYSDHAU. 
 
 CUrlca bf Mr IRVING— Ur RiTtn b; Ur SRSSEB JO^'ES— Dt Baaka b; Ut FOOTK-Joba br tlr B, BAKES— TluTau bj Ur DAVIS. 
 
 UiaUDmavaabrUiiaNlCOL-JalUbr Utu JOMS—UfiBaa'ubrMiill. JONES-BtttTbr Ui«S. DATle. 
 
 Afw-f «:iieli tlw KatiunoJ Dmiua of 
 
 J>aM.Kii(«r8((itla>^.br UtCEOttOE URLVItXE. 
 Bo-iMos bj Mr nSBiB— l<itb.a of Ibai I k br Ut T. ROStRSON— Uardoch \j Ut WALI..\CE- 
 
 Qttx hT Mr LorCtA.^— Tarn Uh»«LI ^ U> DAVIS—Faga hj Uia S. DAVIS. 
 libbN HowiMon hy Uiu NICOL-Uuian hj UiM H. DAVIS, ia niilcb CharmcUt aba will Siac Ih* lat^antal Sorg a 
 
 "A KISS AHINT THE DOOR." 
 
 T., .■ 
 
 MIDIDTORI SKETM 
 
 Mr Wyndbam by HIMSELF. 
 bpirl*. of tiic i'Mi be M « NICOL— Spirit of the Future by Miw M. DAVT 
 ■ Mrs Wj-ndham by HEHf^ELF. 
 
 Tk» llM»l« vrlortMl MHtf HrrMDxed b^ Ur IVm. HOWARM. 
 Tkfi Srenrrr by Mr jr ii4TEti-Th« MrrknBlcMl APraaK«Ni«Dt« br Ur '■ GLBM. 
 A net« PaicDi (•■rei)' Unvelap*, m«doll«d «Apre*»l]r fbr ibe ec«a»l«a. by .Mr PATTERNOW. 
 
 "^SCiSiTSMeBliPTHE theatke-eotal. 
 
 Tableau 1. Mfetingof liailie Mcol Jarvie and Rob Hoy in (he Glasgow lolbooUi. 
 TABLEAU 2. FOREST of FONTAINBLEAU. 
 
 Deadly Encounter between Louis de Franchi and Chateau Renaud. 
 
 TABLEAU 3. PAL.ACE AT BRIDEWELD. 
 
 Interview of Cardinal Wolsey \/ith Queen Katherine, surrounded by her Maids of Honour. 
 
 TABLEAU 4. FAVTOmniG COnBINATIOlir. 
 
 ! ihc r.-rforiiJinMi ''.rmini 
 
 THE NATIONAL ANTHEM! 
 
 BY THE EN'TIBE SIBENGTH OF THE COMPANY 
 BEID. Printer. Nottingham Place, Edinburgh. 
 
1 859-] The Annals of the Edinburgh Stage. 467 
 
 This is the last, this night we take farewell 
 
 Of the Old House endeared by fancy's spell, 
 
 Where Memory sees thro' long departed years 
 
 A train of joys and sorrows, smiles and tears : 
 
 Tears with no bitter taste, and sorrows sweet 
 
 As summer showers, where rain and sunshine meet. 
 
 "Here — and for one brief moment let me view 
 Those pleasant bygone years as one of You, — 
 Here, long ago, the grandsire, once a boy, 
 Felt his first raptures of dramatic joy. 
 And hailed returning with revolving time 
 The marvels of the Christmas Pantomime. 
 Here the staid Matron, then a maiden shy. 
 First heard from Romeo's breast the lover's sigh ; 
 By Juliet's lips first heard the love expressed. 
 That since has made her heart and household blest. 
 The Melodrama taught us here to glow 
 With hate for wrong, and sympathy for woe ; 
 Till the broad Farce soon dried the tear we shed. 
 And sent us tired with laughing home to bed. 
 
 " How many thoughts, how many names unite 
 To cast upon these walls a glorious light ! 
 Siddons and Kemble here displayed their art, 
 Potent as Nature's self to sway the heart ; 
 Here shewed those matchless powers that seemed designed 
 To fathom all the depths of Shakspere's mind. 
 And bring up beauties to our wondering view 
 Such as the pfodding critic never knew. 
 We witnessed here O'Neill's expanding youth 
 In all a woman's tenderness and truth ; 
 And here by fate no further doomed to roam, 
 The younger Siddons found a lifelong home. 
 Stephens' sweet strains have left their echo here. 
 And Braham's full trumpet-tone yet fills the ear. 
 Nor lacked the Comic Muse her mirthful train : 
 Liston's rich humour, Mathews' graphic vein ; 
 York sent us Emery, and Erin's Isle 
 Gave Johnstone's blandest brogue and brightest smile. 
 Jones, Russell, Mason, Terry, rise to view — 
 Terry, the Actor and the Author too ; 
 Murray, with varied powers, himself a host. 
 And he, the Bailie, our peculiar boast : 
 While, scattered round, a galaxy of wit, 
 Scott, Jeffrey, Wilson, formed an audience fit ! — ■ 
 
468 The Annals of the Edinburgh Stage. [1859. 
 
 O days of bygone glory, tell me when 
 We e'er shall look upon your like again ? 
 
 " And where are those who such delight could give ? 
 Dead — or dispersed afar, if any live ! 
 Save that Miss Nicol, her companions flown, 
 Like the last rose of Summer, blooms alone ! 
 
 " This classic ground thus hallowed by the past, 
 To other uses is resigned at last. 
 Our door is chalked — there's notice given to quit — 
 To-day's the terjn — to-morrow we mustyf/V. 
 Soon as the present lessening hour is o'er, 
 The curtain falls that here will rise no more. 
 
 " Another home the Drama soon will find, 
 Though casting oft a lingering look behind. 
 There be it still her effort and her pride 
 To range her forces upon Virtue's side ; 
 To make us in her magic mirror see 
 Both what we are, and what we ought to be ; 
 With gentle tears, evoked by mimic woe. 
 To purify the heart from which they flow ; 
 And while she mocks the follies of the day. 
 To temper Mirth with Reason's sober ray. 
 Pleasingly wise and innocently gay. 
 With arts like these your smiles she still may claim, 
 And almost emulate her former fame. 
 
 " 'Tis thus alone your favour I would seek. 
 And shew the gratitude I cannot speak. 
 Still as I strove your kindness to secure. 
 My aim has been to keep your pleasures pure ; 
 And let me hope, in all I yet have done. 
 The Stage has found me no degenerate son : 
 While I may welcome in this bright array 
 A happy omen for my future way. 
 
 " Here then, to-night, we bid the Past adieu ! 
 To-morrow to fresh fields and pastures new. 
 Where 'tis our treasured hope to meet once more — with You." 
 
 As is well known, the Government had acquired the entire property of 
 Shakspere Square, with the intention of building the General Post Office, 
 which now adorns the site. Considerable difficulty was experienced by 
 the arbitrators between the Commissioners of Her Majesty's Works and 
 the Trustees for the proprietors of the Theatre in determining the 
 
1 859-1 The Annals of the Edinburgh Stage. 469 
 
 price to be paid for the property. In a huge " blue book " that was pub- 
 lished containing the details of the transaction, some curious information 
 is to be found ; most of it, however, is not of a nature to warrant insertion 
 in the present work. At the time of the purchase of the building Wyndham 
 was paying ^1000 rent. The Crown offered ^25,871, los. for the pro- 
 perty, being ^9000 less than it was estimated had been paid by the 
 proprietors to Jackson's estate. The proprietors, on the other hand, 
 wanted ;^49,6oo, in addition to 50 per cent, for the sale being a compulsory 
 one, making in all nearly ;^75,ooo. The feu-duty paid was ;^io, and the 
 insurance money at the time of closing ^108. The actual sum accepted 
 by the proprietors was ;^30,ooo, with interest from May 26th 1859 to 
 time of paying. The entire space occupied by the building (without the 
 portico) was 9 1 2 square yards. 
 
CHAPTER XXIV. 
 
 THE QUEEN'S THEATRE AND OPERA HOUSE, 
 AND MINOR THEATRES. 
 
 HE ruins of the Adelphi lay for a long time without any move 
 being made to rebuild the Theatre. At length a new building 
 was commenced, the design being by David Bryce. The 
 stage and auditorium were placed in the positions which they 
 still retain, thereby allowing much better means of egress. The new 
 house was seated as follows: — Stalls, 150; pit, 350; boxes, 300; upper 
 boxes and gallery, 1000. The stage was 58 feet long by 62 broad, and 
 at the proscenium 32 feet. 
 
 The new Theatre was let to James Black, a merchant in Leith, who 
 was a large shareholder in the building. Black had some years previous 
 to this made himself conspicuous in local dramatic circles by carrying on 
 and printing from time to time a correspondence with, in the first instance, 
 W. H. Murray, the manager; and, in the second place, James Spence, 
 W.S., secretary for the trustees of the Adelphi Theatre. The origin of 
 the correspondence was the non-fulfilment, on Murray's part, of the terms 
 of his lease of the Adelphi. It seems he was bound to play so many 
 nights a year in that building, and for many seasons he had failed to do 
 so. Spence, as secretary for the trustees and shareholders of the building, 
 should have seen that Murray kept to his contract ; but Black made out 
 a pretty good case against both him and Murray and showed that Spence 
 had deliberately " winked " at Murray's failure to implement his bargain. 
 When Wyndham got the Adelphi, there was no cause for complaint of any 
 kind, but Black seems all along to have nursed a secret belief that he 
 could — if he got the chance — make a far better job of managing a Theatre 
 than either Murray or Wyndham. When the Adelphi was rebuilt he 
 did get a chance, and conclusively showed by his complete failure soon 
 
1 856-7. J The Annals of the Edinburgh Stage. 471 
 
 after that something more is requisite for the successful management of 
 a theatre than self-conceit and dilettantism. 
 
 Black's first season* (1855-6) opened on December 19th, with the 
 " National Anthem," sung by Miss Cicely Nott and Miss Kate Saville, 
 after which Love's Sacrifice. The entertainments of the evening included 
 a violin solo by Master Charles Rossi. 
 
 On January ist Guy Mannering was put upon the stage. Henry 
 Bertram = W. H. Eburne; Dandie= Harker; Dominie = Cathcart; Gabriel 
 = Josephs ; Lucy = Miss Cicely Nott ; Meg Merrilees = Mrs Moorhouse. 
 
 On January 14th the pantomime Baron Munchausen was pro- 
 duced. Clown = Charles Le Clercq ; Harlequin = Arthur Le Clercq. An 
 important production was Tom Taylor's Still Waters Run Deep, on 
 January 23rd 1856, for the first time in Edinburgh. New scenery by 
 William Channing. John Mildmay = T. Mead ; Captain Hawksley = 
 Moorhouse; Dunbilk = Collier ; Mr Potter = Harker ; Gimlet = Everett ; 
 Jessop= Parker ; Mrs Mildmay = Miss Kate Saville ; Mrs Hector Stern- 
 hold = Miss Cleaver. Still Waters ran for six nights in succession, and 
 was frequently repeated during the season. 
 
 The season closed on April 22nd, and the house reopened for the 
 summer on the 30th of the same month, with Buckstone's King of the 
 Alps, for the first time in Edinburgh. 
 
 Mead took his first benefit at this house on May 19th, when he 
 played Ingomar in the play of that name. Miss Aitken, from the Theatre 
 Royal, Glasgow, made her appearance on June i6th, playing Juliet to 
 Mead's Romeo. On July 7th was produced Faust and Marguerite. 
 Mephistopheles = Mead ; Faust = Moorhouse ; Marguerite = Miss Kate 
 Saville ; Siebel = Lloyd, who was playing a sort of starring engagement. 
 This piece was played eleven successive nights. On July 21st Maritana 
 was produced by an opera company under the management of Henry 
 Corri. The season came to a close on October 20th with a benefit to 
 Black, the lessee. 
 
 The following winter season (1856-7) opened on November 5th. 
 Mead was no longer a member of the company, his place having been 
 taken by Swinbourne, who joined towards the close of the summer season 
 (1856). Miss Marriott, from Drury Lane, appeared in a round of leading 
 parts from November 24th to December 6th. Swinbourne left on 
 
 * The Theatre was now called " The Queen's Theatre and Opera House." 
 
472 The Annals of the Edinburgh Stage. [1856-7. 
 
 December 20th, and on the 22nd the pantomine Puss in Boots was 
 brought out ; the scenery by Channing and music by R. B. Stewart. 
 Vandenhoff and his daughter paid a starring visit in January, extending 
 into February. It was announced as VandenhofFs farewell engagement 
 in Edinburgh ; but probably on account of the visit being a success, he 
 gave another series of farewell appearances a few weeks after. 
 
 The season came to a close on April i8th 1857, with Romeo and 
 Juliet. Mercutio = Mead (who had joined some time previously) ; Romeo 
 = Warden ; Juliet = Miss Kate Saville ; Nurse = Miss Cleaver. 
 
 The house again opened on May 2nd 1857. On June 5th Macbeth 
 was produced with great splendour. Macbeth = Mead ; Macduff = F. 
 Dewar ; Banquo= Robert Tindell ; Lady Macbeth = Miss Aitken. This 
 production was only played three times, and no doubt Black lost money 
 by it. On June 22nd Miss Cleaver took a farewell benefit before entering 
 upon an engagement at the Theatre Royal, Glasgow. She played Lady 
 Constance in King John. King John= Mead. 
 
 Black's venture had proved a failure, notwithstanding the excellent 
 programmes and companies that he had provided. On June 26th 1857, 
 he announced his farewell benefit, when A Cure for the Heartache and 
 Tlie Jacobite were played. So exit Black, a sadder, and perhaps a wiser, 
 but certainly a poorer man than when he entered upon a task for which 
 he proved himself unfitted. 
 
 The Government having determined to erect the General Post Office 
 on the site of the Theatre Royal, it behoved Wyndham to be ready 
 against the shortly to be expected warning to quit. The Queen's 
 was the only place for him to turn to, and as it now stood empty, the 
 proprietors were only too glad to get for their tenant the only one who 
 had proved himself worthy to stand in Murray's shoes. 
 
 A lease having been granted, Wyndham opened " The Queen's 
 Theatre and Opera House," on November 23rd 1857, with an occa- 
 sional address by himself and Mrs Wyndham ; The Love Chase following. 
 
 November 28th, Othello. Othello = Charles Verner ; Iago = Tom 
 Mead ; Montano= Irving ; Desdemona= Miss Henrietta Sims. 
 
 December 14th, Rob Roy. Rob = Verner; Bailie = Fisher ; Rash- 
 leigh= Irving ; Dougal = Gomersal ; Francis = Henry Haigh. 
 
 The pantomime St George and the Dragon was brought out on 
 December 21st. 
 
 February 26th, " for the benefit of Mr Vandenhoff, and his last appear- 
 
1858-9.] The Annals of the Edinburgh Stage. 473 
 
 ance in Edinburgh," Henry VIII. Wolsey = Vandenhoff; Earl of 
 Surrey = Irving. " At the end of the play Mr Vandenhoff will have the 
 honour of speaking a farewell address, when he will take his final leave of 
 the Edinburgh stage." 
 
 On the 19th April the season concluded with Mr and Mrs Wynd- 
 ham's benefit. 
 
 The summer season opened on June 23rd 1858, when no fewer than 
 twenty-three new artistes made their first appearances. Powrie and 
 Charles Verner each played for a few evenings, and the season closed 
 with a benefit to A. Younge, the manager, on July 27th. 
 
 The winter season opened on November 6th 1858. 
 
 On December 4th Toole was announced to commence his " farewell 
 engagement." There can scarcely be any doubt that this was one of his 
 little jokes ! He played Joe in the Gipsy Far77ier, it being his first ap- 
 pearance at this Theatre. The part of Luke Hatfield = Irving. The 
 pantomime this season was Tarn O'Shanter, and after January 29th 
 1859 no dramatic performances were given in this house until the old 
 Theatre Royal had closed its doors for ever, and the Patent had been 
 transferred to the junior house. 
 
 The first season of the Queen's under Royal letters patent opened 
 on June 25th 1859, when was played Everybody's Friend. Felix 
 Featherley = Wyndham ; Icebrook = George Fisher; Major Wellington 
 De Boots = George Smythson ; Mrs Featherley = Miss Sophie Miles;* 
 Mrs Major De Boots = Miss Nicol. 
 
 During this season Irving played in a great variety of parts. Light 
 comedy lead was his particular department, but he sustained many parts 
 in burlesque, heavy lead, low comedy, and walking gentleman — a com- 
 bination that Wyndham never again obtained in any single member of 
 his company. 
 
 July 7th, Heart of Midlothian. John, Duke of Argyle = I rving. 
 July 14th, Charles XII., in which Irving sustained the title role. 
 August 5th, Montague Williams, late of H.M. 41st Regiment, appeared 
 along with " that distinguished London amateur," " Tom Pierce, Esq. " 
 (F. C. Burnand), on the occasion of Miss Louise Keeley'st benefit. The 
 play was London Assurance. Charles Courdy = Montague Williams ; Sir 
 Harcourt Courtly = Ersser Jones ; Dazzle = Irving ; Adolphus Spanker = 
 
 * Afterwards married to George Fisher. t Mrs Montague Williams. 
 
474 The Annals of the Edinburgh Stage. [1859-60. 
 
 E. D. Lyons ; Lady Gay Spanker = Mrs Wyndham ; Grace Harkaway = 
 Miss Louise Keeley. After which was played the comedietta Dearest 
 Elizabeth. Mr Lax = Tom Pierce, Esq. ; Betsy = Miss Louise Keeley. 
 
 August 6th, Guy Mannering. Dirk Hatterick= Irving. August 
 1 6th, Kenilworth, a comic operatic extravaganza, in which Miss Nicol 
 played Queen Elizabeth and Irving, Wayland Smith. August 22nd, 
 Hamlet. Hamlet = Charles Dillon ; Claudius = Irving. 
 
 On September 13th the playbills announced the " farewell benefit of 
 Mr Irving, previous to his departure for the Princess's Theatre, London." 
 The Lady of Lyons was played, with Irving as Claude and Miss Julia St 
 George as Pauline. Irving said a few words to his friends, after which 
 the performance closed with the farce Mother and Child are Doing 
 Well. 
 
 On November ist 1859, the Theatre opened with an Italian Opera 
 Company, which included the great Mdlle. Titiens. It performed for 
 four nights, and on the 5 th the dramatic season began with a performance 
 of Richard III. Gloster = Edmonstone Shirra ; Henry IV. = Charles 
 Cooke, a very good "heavy " actor from the Theatre Royal, Birmingham; 
 Buckingham = E. D. Lyons; Richmond = Wyndham ; Tressel = Alfred 
 Paget,* from the Theatre Royal, Bristol ; Lady Ann = Miss Sophie Miles; 
 Duchess of York= Miss Nicol. 
 
 On November 28th, John Chester, who was engaged as principal 
 low comedian, made his appearance, playing Gregory in The Two 
 Gregories. He only played for a few nights, and on his leaving, his place 
 was filled by Fisher. The pantomime Babes in the Wood, produced 
 December 19th, was from Logan's pen, but it does not seem have taken. 
 
 June 4th i860, Charles Mathews made his first appearance here after 
 his return from America, where he had married Mrs Davenport,t whose 
 first appearance here was on June 4th, as Countess of Fresilian in The 
 Game of Speculation. 
 
 June i8th, last night of season and benefit of Mr and Mrs Wyndham, 
 when were played Soldiers Daughter and Ro7y O'More, in the latter of 
 which Wyndham made his first appearance in the part of Rory. 
 
 During the summer months the Theatre was open from June 23rd to 
 October 2 2nd, and the winter season (1860-61) commenced on November 3rd. 
 
 * Was a son of Samuel Phelps. He was afterwards known in London as Edmund Phelps, and died in 
 Edinburgh, April 2nd 1870, aged 32. 
 + February 1858. 
 
1860-62.] Tlie Annals of the Edinburgh Stage. 475 
 
 Miss Julia Day, an American actress, appeared for the first time in 
 Edinburgh on November 12th, the play being Our American Cousin. 
 The pantomime Jack the Giant Killer was produced on December 21st. 
 One scene, representing the exterior of King Arthur's Tavern, was 
 expressly painted by Sam Bough, A.R.S.A. The pantomime was from 
 the pen of H. J. Byron. King Arthur was played by Sam Johnson ; the 
 Giant =E. Saker, who had a splendid make-up for the part; Jack's 
 mother = R. Saker ; Jack = Miss Henrietta Watson ; Clown = Hildebrandt. 
 
 On the 1 8th February Wilkie Collins' Woman in White v/as produced 
 with the following cast: — Sir Percival Clyde = Charles Cooke; Count 
 Fosco = Fitzjames ; F. Fairlie = Foote ; Laura = Miss Robberds ; Marian 
 Halcombe= Miss Agnes Markham. This piece was a great success, and 
 ran till March 2nd, when it had to be withdrawn to allow Mr and Mrs 
 Charles Kean to appear. 
 
 With the opening of the summer season on June 24th 1S61, occurred 
 one of the most important productions of Wyndham's management, namely. 
 The Colleen Bawn, which was then played for the first time in Edinburgh. 
 The cast was as follows ; — Myles = Wyndham ; Hardress = E. D. Lyons ; 
 Kyrle Daly = Huntley; Corrigan = Lewis ; Danny Mann = Charles Verner; 
 Bertie O'Moore = Fitzjames ; Hyland Creigh = Morton ; Father Tom = 
 D. Leeson ; Mrs Cregan = Mrs Hudson Kirby ; Ann Chute = Miss Sarah 
 Thorne; Sheelah = Miss Eliza Terry; Kathleen Creagh = Miss S. 
 Davis; Eily = Mrs Margaret Eburne. It ran till July 27th, on which 
 evening Miss Lydia Thompson made her first appearance here, playing 
 Valentine in Magic Toys. 
 
 The Colleen Bawn was revived on February loth 1862, J. M. 
 Graham playing Danny Mann. It ran till the 21st, on which evening 
 was produced for the first time in Edinburgh The Octoroon. Scenery 
 by W. Gordon and Hart. Salem Scudder = Wyndham ; George 
 Peyton = C. Weston; Jacob M'Closkey = J. M. Graham; Wahnotee = 
 Ed. Saker ; Captain Ratts = C. Cooke ; Colonel Pointdexter = Courdy ; 
 Lafouche = R. Saker ; Picayune Paul = Miss S. Davis ; Pete = D, Leeson ; 
 the Clerk = Pillans ; Zoe= Mrs W. H. Eburne. Although a great success 
 the Octoroon did not take so well as the Colleen Bawn, and indeed the 
 latter drama was played along with the Octoroon for a number of 
 evenings towards the close of its run, so as to strengthen the 
 attraction. On March 15th the two plays were given for the last time. 
 On March 31st was produced for the first time in Edinburgh Edmund 
 
476 The Annals of the Edinburgh Stage. [1862. 
 
 Falconer's sensational drama Peep Day. For this production several 
 special engagements were made; including those of Miss Heath and Wilson 
 Barrett. This piece proved a great success, and ran till April 23rd. 
 . The last nights of Miss Nicol's appearing in public were during 
 May, on the 23rd of which month she took her farewell benefit, and 
 announced in the bills that she " offers her heartfelt thanks for the 
 kind favour bestowed on her during so many past years." She played 
 for her benefit Widow Warren in Road to Ruin, and Miss Durable in 
 Raising the Wind, and she spoke an address in company with some other 
 members of the company. May 31st was the last night of the season, 
 and was for the benefit of Mr and Mrs Wyndham. Miss Nicol appeared 
 on this evening for the last time on any stage, playing the Hostess in The 
 Honeymoon, and afterwards took her final farewell of her Edinburgh 
 friends. 
 
 Miss (Emma) Nicol's career was a most remarkable one ; its first 
 connection with the stage is not on record, but it certainly dated back 
 almost to the time of her mother's first appearance in Edinburgh. She 
 was undoubtedly a member of the company in 18 12-13, so that when she 
 retired she had completed her stage jubilee. She had three sisters, all of 
 whom appeared on the stage at early ages. Chambers makes the mistake 
 of saying that Miss Nicol was the original Mattie in Rob Roy ; that part 
 was originally played at the Theatre Royal by Miss Stanfield, and Miss 
 Nicol was the Martha, a very small part; but in 1821 she appeared as 
 Mattie, and she played the same part before the King in 1822. In 1822 she 
 also played Madge Wildfire in The Heart of Midlothian, Maria in 
 Twelfth Night, Miss Neville in She Stoops, and many other good parts. 
 In 1823 she left Edinburgh, and did not reappear here till November 8th 
 1834, and was then described in the playbills as "from the Theatre 
 Royal, Drury Lane." She must have gained great experience during her 
 travels, for on returning to Edinburgh she immediately succeeded to 
 her mother's line of parts, which she continued to play till her retirement. 
 Miss Nicol was one of the last of the class of provincial actors (in Edin- 
 burgh, at any rate), who, having a comfortable home and engagement in 
 the country, were content to remain there in the full confidence and 
 respect of their managers, and regarded by the audience as friends. 
 There were many such throughout the country at one time ; but they 
 have all passed away, and the class is dead, never to be revived. 
 
 A proof of Miss Nicol's versatility is afforded by the success with 
 
1862-65.] The Annals of the Edinburgh Stage. 477 
 
 which she adapted herself to the necessities of burlesque acting when such 
 pieces became popular. She was an old woman at the time, and yet in 
 many burlesque parts, notably Queen Elizabeth in Kenilworth, and 
 Dame Lucia in The Maid and the Magpie, she showed such extraordinary 
 humour and spirit, as to be pronounced not one whit inferior to Mrs 
 Selby, the original in these parts. After her retirement she removed to 
 London, where she died in November 1877. 
 
 Edward Saker rented the Theatre from Wyndham, and opened it for 
 an "after season" on June 7th 1862, with The Lady of the Lake. James 
 Fitzjames = Morton ; Roderick Dhu = Charles Cooke. 
 
 On April 19th 1863 the Pyne & Harrison Opera Company produced 
 for the first time The Lily of Killarney . Myles = W. Harrison ; Hardress 
 = George Perren ; Danny Mann = H. Corri ; Father Tom = J. G. Patey ; 
 Corrigan = J. Rouse; 0'Moore = Charles Lyall ; Ann Chute = Miss Thirl- 
 wall ; Mrs Cregan= Mrs Aynsley Cook ; Eily = Miss Louisa Pyne. 
 
 E. A. Sothern made his first appearance in Edinburgh on May 25th, 
 appearing in Our American Cousin. 
 
 On September 21st Mr and Mrs Dion Boucicault made their first 
 appearance, playing Myles and Eily in Colleen Bawn ; and on October 
 19th 1863, the season closed with the usual benefit to Mr and Mrs 
 Wyndham. 
 
 About 3.45 on the afternoon of January 13th 1865, the gas man 
 belonging to the Theatre was employed lighting the "battens," when, as 
 was not uncommon as long as the old method of lighting by hand was in 
 use, the light on the end of the long pole came in contact with, and 
 ignited a sky piece or "border" that was suspended above. The gas 
 man as well as a carpenter immediately proceeded to cut down the burning 
 canvas ; but (through the knife of the latter slipping from his hand and 
 falling to the ground, it is said) before this had been effected, the flames 
 had caught hold of more than one piece of scenery, and in an incredibly 
 short space of time, notwithstanding the strenuous efforts of several other 
 men who rushed to help, the workmen not only had to retreat, but had 
 considerable difficulty in escaping from the building. The alarm was at 
 once given, but nothing could be done to save the Theatre, which, in less 
 than fifteen minutes, was a raging furnace. The firemen, who speedily 
 arrived, turned their attention to saving the adjoining property, St Mary's 
 Catholic Chapel principally attracting their attention, for the north gable 
 of the Theatre began to show unmistakable signs of bulging out. A 
 
478 The Annals of the Edinburgh Stage. [1866. 
 
 large chimney stack that surmounted this wall bent over the roof of the 
 chapel, and almost without warning fell, crashing through slates, beams, 
 and everything. Several men were inside endeavouring to save such 
 moveables as they could ; but though a shout had gone up from those 
 outside for them to leave instantly, several had not had time to escape, 
 and were crushed under the fallen debris. Willing hands strove with 
 might and main to get at these poor creatures, in hopes they might still be 
 alive, Dean of Guild Lorimer in particular setting a splendid example to 
 those who had courage enough to follow him into the ruined building. In 
 a few minutes another cry arose that the whole north wall was falling, and 
 a rush was made by the rescuers ; Lorimer was striving to extricate a 
 poor fellow who was still alive, although jammed in with stones, and 
 remained a moment after the others had fled to complete the rescue, when, 
 with a noise like thunder, and a concussion that is said to have shaken the 
 ground, the wall fell into the chapel and killed both him and the man he 
 was trying to save. Wyndham (who was in London at the time) lost 
 considerably by the fire, and much sympathy was shown for the families 
 of those killed in the chapel. A subscription was set on foot for them, 
 and a benefit was given at the Princess's in their aid. 
 
 There was little delay in getting a new Theatre erected, for on 
 December 2nd 1865 the third building on the site (David M 'Gibbon, 
 architect) was opened by Wyndham, who was again lessee. An opening 
 address, from the pen of W. H. Logan, was spoken, after which the plays 
 of London Assurance and Aunt Charlotte s Maid were given. The prices 
 were 3s., 2s., is. 6d., is., and 6d. A pantomime, entitled Robin Hood, 
 from the pen of F. C. Burnand, was duly brought out ; and on March ist 
 Miss Siddons,* "great-granddaughter of the Mrs Siddons," was announced 
 to make her first appearance on the stage. She played Juliet to Henry 
 Vandenhoff's Romeo. 
 
 March 8th, Arrah-Na-Pogue was played for the first time in Edin- 
 burgh. M'Coul = Richard Saker ; Fanny Power = Miss Hunt ; O'Grady = 
 Powrie ; Shaun the Post = Wyndham ; Arrah = Miss Nelly Palmer ; Major 
 Coffin = J. B. Howard.t It ran until April 14th. On August 27th 1866 
 Wyndham revived Rob Roy with much success ; the scenery and mountings 
 were all well got up, and the cast was strong. Rob Roy = J. B. Howard ; 
 Bailie = Campbell ; Rashleigh = Wyndham ; Dougal = E. Saker ; Helen 
 
 Mrs Scott Siddons, now well known as a reader. t This was his first appearance in Edinburgh. 
 
1866-69.] The Annals of tJie Edinburgh Stage. 479 
 
 = Mrs Wyndham ; Owen = Odell ; Galbraith = Anson ; Diana = Eva Stella.* 
 It ran till September 22nd, and was again put on in October, when Pillans 
 played the Bailie, t The pantomime 1866-7 ^"3^^ Little King Pippin, after 
 which no event of moment occurred until April 8th 1867, when J. B. 
 Howard 'took his benefit, and played Richelieu and John Mildmay (Still 
 Waters), both for the first time. 
 
 A new version of Guy Mannering was brought out by Wyndham on 
 July ist 1867. The alterations on the commonly played edition do not 
 seem to have been a success, at any rate they were criticised pretty 
 severely in the public press. Dominie Sampson = Odell ; Dandie = 
 Pillans; Meg Merrilees= Mrs Wyndham; Dirk Hatterick = J. B. Howard; 
 Lucy Bertram = Helen Kirk. It ran till July 27th ; and on the 29th Rob 
 Roy was again revived, with Diana = Helen Kirk; and Helen = Miss 
 Marie Billings ; the other parts being cast almost the same as during the 
 previous year. The Scotsjtian, speaking of Howard's Rob Roy, said : — 
 " From the first careful, painstaking, and hardworking, Mr Howard has 
 made wonderful progress and improvement, and presents a capital Rob 
 Roy, which bids fair to become one of the best on the stage." 
 
 The first of T. W. Robertson's plays performed in Edinburgh was 
 Oiirs on September 9th 1867, J. Clarke playing in his original part 
 of Hugh Chalcot, it being his first appearance here. Mrs Atkins was 
 Lady Shendryn ; Miss Sydney Cowell, Blanche Heye ; Miss Margaret 
 Young, Mary Nedey ; J. B. Howard, Angus M'Allister. 
 
 September 20th, Caste. Eccles = J. Clarke. 
 
 November 23rd, the Flying Scud, a silly play by Boucicault, which 
 ran till the production of the pantomime on December 21st. J. B. 
 Howard played Louis XI. for the first time, at his benefit on April 27th 
 1868. 
 
 During the summer of 1869 Messrs H. J. Loveday (musical director), 
 J. B. Howard, and Fred. Dowland rented the Theatre from Wyndham 
 for a short season; and on July 15th " the farewell benefit and last appear- 
 ance but two of J. B. Howard, previous to his departure for Drury Lane." 
 
 The Haymarket company, under Buckstone, made their first visit 
 here on September 6th 1869. Compton, Kendal, Chippendale, Howe, 
 Buckstone junr., Mrs Chippendale, Miss Caroline Hill, Miss Madge 
 Robertson, Miss Fanny Gwynne, were all in the company. 
 
 * Now known as Kate Santley. t His first time in the part, October 29th. 
 
480 The Annals of the Edinburgh Stage. [1869-76. 
 
 Miss Helen Faucit commenced a series of farewell performances, 
 previous to her final retirement from the stage, on November 29th 1869, 
 her final appearance being on December 10th, when she played Rosalind. 
 
 To celebrate the Scott Centenary in 1871, Wyndham gave a season 
 of Scottish plays, commencing with Kenilwortli, on July 17th. The Duke 
 of Leicester by J. B. Howard, from Drury Lane, under whose superin- 
 tendence the piece was produced ; the part of Queen Elizabeth by Mrs J. 
 B. Howard. This ran till the 31st ; and on August ist Rob Roy was put 
 on, with Mr and Mrs Howard as Rob and Helen respectively. 
 
 September 5th, was produced a new adaptation of " Old Mortality," 
 entitled Drwnclog. Henry Morton = J. B. Howard; Cuddie Headrigg = 
 Pillans. Neither this nor a new adaptation of Waverley (produced 
 September nth) appear to have been greatly successful ; the latter piece 
 ran till the 23rd, when the special centenary performances ceased. 
 
 Howard took the Theatre for a summer season in 1872, when he 
 produced the Lady of the Lake on a scale of great completeness, the 
 scenery being by William Glover. Roderick Dhu= Howard; King 
 James = J. H. Slater; Brian = J. Archer; Allan Bane = Pillans. 
 
 In 1873 Mr Howard again took the Theatre for the summer, and 
 introduced to the Edinburgh audience J. K. Emmet (May 27th), and pro- 
 duced a new adaptation of "Old Mortality," entitled lOyg, by Charles Webb. 
 
 Nevin, Archer, and Daly took the Theatre for the summer months 
 of 1874, and on February 6th 1875, nearly at the close of the run of the 
 pantomime oi Jack and the Beanstalk, the Theatre was once more burned 
 to the ground, happily on this occasion without loss of life, 
 
 Wyndham now retired from management, and on January 27th 1876 
 a new Theatre Royal, which had been raised upon the old site, was 
 opened with every augury of success by J. B. Howard, the piece 
 being The Shaughraun, its first production here. The cast was : — 
 Captain Molineux = J. H. Barnes; R. Ffolliot = J. H. Slater; Father 
 Dolan = T. B. Bannister ; Corry Kinchela = J. D. Beveridge ; Harvey Duff 
 = Tom Nerney; Conn= Hubert O'Grady ; Claire Ffolliot = Rose Massey; 
 Moya = Eveleen Rayne. An opening address from the pen of W. H. 
 Logan was delivered by Mr J. B. Howard. 
 
 On June loth 1876 an excellent production oi Nicholas Nickleby was 
 given, with Mrs J. B. Howard as Mrs Squeers, and W. Morgan as 
 Squeers. July 17th, Rob Roy was brought out with great completeness. 
 Rob = J. B. Howard; Helen = Mrs J. B. Howard; Dougal = Edward 
 
1876.] The Annals of the Edinburgh Stage. 481 
 
 Saker ; the Bailie = Gourlay. This production proved a great success, 
 and ran till August 19th. 
 
 During this and the few other " stock " productions, Mr Howard him- 
 self played lead, J. H. Slater supporting, and Miss Kate St Ange taking 
 juvenile lead to Mrs Howard's principal lead, August 21st 1876, Trial 
 by Jtiry, first time in Edinburgh. Fred Sullivan* played the " learned " 
 Judge; Knight Aston, the Defendant; and Miss Clara Vesey, the Plaintiff. 
 
 Joseph Jefferson made his first appearance here on September i ith, 
 and an interesting series of legitimate dramas was given from October 
 1 6th to 2 1 St by the stock company. On October 23rd much expectation 
 was occasioned by the first performance of Henry Irving as a " star." 
 The house was packed, and many old playgoers were grouped together in 
 the pit comparing notes as to their recollections of the great actor while he 
 was yet a member of the stock company in the " Fifties." Doleful fore- 
 bodings were freely indulged in, but as the piece [Charles I.) progressed 
 opinions seemed to alter, and the performance was greeted with enthusi- 
 astic applause. From that day old playgoers invariably recollected how 
 they had long ago predicted that Irving would some day " do some- 
 thing." On October 30th Irving played Hamlet for the first time in 
 Edinburgh. He was supported by T. Swinbourne, A. W. Pinero, Walter 
 Bentley, John Archer, Miss Isabel Bateman, Miss G. Pauncefort, &c. 
 
 November 6th, Edward Saker's splendid spectacular revival of 
 A Winters Tale, from Liverpool, in which Miss Rose Leclercq played 
 Hermione. 
 
 On December i6th a morning performance was given in aid of the 
 Celtic Chair, Professor Blackie being the particular patron. Mr Howard 
 gave a masterly impersonation of John Mildmay in Still Waters Run 
 Deep, and, for the first time in Edinburgh, his inimitable performance of 
 Felix O'Callaghan in His Last Legs. 
 
 On April i6th 1877 Mr and Mrs J. B. Howard took their first 
 managerial benefit, the plays being The Wife's Secret and His Last Legs. 
 June 18th, Da7tl Bruce, with Miss Florence Terry as Dorothy. On 
 October 29th Irving reappeared ; and the Christmas pantomime for 
 1877-8 — The Forty Thieves- — was produced on December 13th. This 
 proved a great success, and ran till the beginning of March (1878), on the 
 4th of which month Mr and Mrs Howard took their second annual benefit. 
 
 Year after year the Royal continued to supply the demand for the 
 
 * Brother of the Composer. 
 2 H 
 
482 The Annals of the Edinburgh Stage. [1887. 
 
 best available companies on tour, but the day of stock companies had 
 passed away, and the annals of the Edinburgh stage proper ceased. The 
 history of travelling companies is a separate and distinct subject. In 
 1883 Mr Howard severed his connection with the Royal, and, as is well 
 known, in conjunction with Mr F. W. Wyndham, opened the new Royal 
 Lyceum on September loth of that year. 
 
 After passing out of Mr Howard's hands, the Royal was let to Mr 
 Heslop, but was again burned down June 30th 1884. Mr Cecil Beryl, 
 of the Princess', Glasgow, having obtained the lease, the new house was 
 opened by him on December 29th of the same year, and during 1S87 Mr 
 W. Hatton joined Mr Beryl as co-lessee. 
 
 MINOR THEATRES, 
 
 THE PRINCESS'. 
 
 It seems impossible to say when this building was first started as a place 
 of public entertainment. About the year i860 it would appear to have 
 been used as a music hall, and at that period it was rented by W. Paterson, 
 formerly property master at the Royal. Paterson soon transformed it 
 into a Theatre, and seems to have got together very respectable com- 
 panies. Among the names that these included may be mentioned 
 Charles Harcourt, James Hillier, Beaumont Hughes, Charles Mortimer, 
 Philip Day, Edward Righton, Walter Searle, N. C. Carroll, &c. At one 
 time (1863-4) W. H. Channing was scene painter, and R. B. Stewart led 
 a small but efficient orchestra. Although Paterson seems to have been a 
 conscientious and careful manager, his venture did not pay, and in 1867 the 
 building was again opened as a music hall, with T. J. Poole as manager, 
 and a few months later, William Stephens became lessee, the variety busi- 
 ness still being carried on. 
 
 On September 14th 1868, the " Royal Princess' " opened its doors 
 under the new management of A. D. M'Neill. This gentleman, whose 
 genial presence is yet so fresh in the memories of our playgoers, and who 
 by his great talent, excellent management, and good citizenship, gained 
 
i868-9.J The Annals of the Edinburgh Stage. 483 
 
 the esteem of all with whom he came in contact, was a native of Edin- 
 burgh, having been born in our city in 1829. His father, Mr Alexander 
 M'Neill, who was a member of the Scottish Bar, sent him to the High 
 School and afterwards to the University here. He seems to have 
 adopted the histrionic profession in London, and, having acted some little 
 time there, went on tour in the provinces, but returned to the metropolis, 
 and acted under Charles Dillon at the Lyceum. Birmingham next secured 
 his services, and on leaving the midland capital he joined Edmund 
 Glover's company at the Theatre Royal, Glasgow. In 1852 he married 
 Jessie, eldest daughter of the famous Corbet Ryder. In 1862 M'Neill 
 acquired the management of the Aberdeen Theatre, and it is worthy of 
 remark, that during his term of management in the granite city, Wilson 
 Barrett was for some time a member of his stock company. 
 
 The opening pieces in 1868 were Ruth, in which Miss Kate Saville 
 impersonated the heroine, and the burlesque The Field of the Cloth of 
 Gold. The company included: — F. Kilpack, H. Packenham, Beaufort, 
 C. Coutts (from Birmingham), Appleby, G. W. Robinson, Gilbert, E. 
 Webbe, Miss B. Colbridge, Miss D. Thirwall, Miss M. Webbe, Mrs H. 
 Lacy, and Mrs Butler. 
 
 On September 28th M'Neill made his first appearance in Edinburgh, 
 playing Richelieu to the Julie of Mrs Margaret Eburne. 
 
 The Field of the Cloth of Gold proved a success, and was followed 
 upon October 14th by Ixion. October 24th, Ticket-of Leave Man, 
 with J. H. Clynds, who was a member of the company, as Bob Brierly ; 
 M'Neill playing Hawkshaw. 
 
 November 7th, Rob Roy. Rob = M'Neill, first time in Edinburgh. 
 M'Neill's impersonation of the bold outlaw will ever remain stamped on 
 the memories of those who saw it. He played it frequently in Edinburgh, 
 his last appearance in public being in that part when he played it in the 
 Lyceum Theatre on the occasion of a benefit kindly given on July 21st 
 1884 by Howard & Wyndham to Heslop, an unfortunate lessee of the 
 Royal, on which occasion Mr J. B. Howard played Rashleigh. 
 
 On February 8th 1869, M'Neill produced a piece from his own pen, 
 entitled The Gloamin and the Mirk ; or, a Story of Modern Athens. 
 This proved a great success, and ran some fifteen nights. The cast was 
 as follows: — Frank and Herbert Danvers = Clynds ; Fox Skinner =H. 
 Percy; Old Tom Fogg = Alexander ; Dicky M 'Scone = E. Webb; Paddy 
 Corney = Blanchard ; Hawksworth = T. R. Appleby; Bob Bannock = 
 
484 The Annals of the Edinburgh Stage. [1869-71. 
 
 Hastings; Sandy Tod, a street Arab = Miss Joanna Blake; Louisa 
 Danvers= Miss Sallie Booth. 
 
 Tiie summer season (1869) lasted from June 19th to September i ith, 
 being opened by Wilson Barrett and Miss Heath, and closed with a per- 
 formance of Wandering Steenie by M'Neill. The company included 
 the following : — Misses Bella Mortimer, Nelly Parker, Agnes Darling, 
 and Fanny Templeton ; Mrs W. Ormsby ; Frank Hill, J. Morton, H. 
 Lindsay, Noel Austin, R. Medlicott, W. Granger, W. Evans, and G. 
 Wilmott ; A. Rednor being the leader of the orchestra. 
 
 The company for the following winter season (1869-70) was much 
 the same as above. The season opened on September 18th. October 
 9th, Faust and Marguerite. Mephistopheles = Wilson Barrett. 
 
 On November 4th, M'Neill gave his memorable performance of Sir 
 John Falstaff in The Merry Wives of Windsor ; Wilson Barrett playing 
 Master Ford. 
 
 December loth. Masks and Faces, for Barrett's benefit. Triplet = 
 Wilson Barrett; Sir Charles Pomander = M'Neill ; Peg Woffington = 
 Miss Heath. 
 
 December i8th, pantomime of 5^ George and the Dragon. February i8th 
 1870, M'Neill's benefit, and first appearance in Edinburgh of Mrs M'Neill* 
 
 On March 4th 1871, the summer season opened with an important 
 revival of Rob Roy, in which M'Neill played Rob ; W. D'Almaine, 
 Francis ; Miss Mary Townley, Diana ; and George Fisher, the Bailie. 
 It proved a great success, and induced M'Neill to undertake the revival 
 of several more of the Waverley dramas. Fisher's Bailie, and his sub- 
 sequent performances as Peter Peebles and Meg Dods, were inimitable. 
 The second of the series was Redgauntlet (newly adapted by the manager), 
 and was produced on the opening of the autumn and winter season 
 (1871-2), August 8th. The parts of Charles Edward Stuart and Wander- 
 ing Willie = M'Neill ; Darsie Latimer =R. Medlicott; Justice Foxley = 
 Frank Hill ; Peter Peebles = Fisher. This ran till September 15th, and 
 on the following night (i6th) St Ronans Welt {also adapted by M'Neill) 
 was brought out. The Earl of Ethrington = M'Neill ; Francis Tyrell = 
 Fred. Hastings; Josiah Cargil = J. Morton; Peregrine Touchwood = 
 Frank Hill; Squire Moubray = R. Medlicott ; Clara Moubray = Miss 
 Marie Glynne ; Meg Dodds = George Fisher. This ran till October nth. 
 
 * This is not correct ; see page 488. 
 
1871-5-] The Annals of the Edinburgh Stage. 485 
 
 October 28th 1871, Little Enily. Mr Micawber and Dan'l Peg- 
 gotty = M'Neill ; Steerforth = Medlicott ; Uriah Heep = Frank HiL. 
 The pantomime was Blue Beard (December i6th 1871), and the season 
 closed on February i6th 1872, with M'Neill's benefit. 
 
 On December 13th 1873 the winter season opened with the panto- 
 mime of Cinderella, in which Miss Emily Vining, T. Sennett, Frank Hill, 
 and R. Medlicott played. On March 7th 1874 George Honey commenced 
 a short engagement. The first production of La Fille de Madame Angot 
 at this Theatre on June 22nd is worth noting. Madame Selina Dolaro, 
 H. Corri, Knight Aston, and Miss Annie Howard were in the company. 
 From this date stock companies practically ceased to exist, and the old well- 
 defined winter and summer seasons became things of the past. A few stock 
 productions were got up occasionally, but with the exception of the panto- 
 mimes, their importance was a minus quantity. The following brief notes 
 will sufficiently indicate any important engagements that were played at 
 the Princess'. 
 
 July 27th 1874, Two Roses. Digby Grant = Flocton ; Our Mr 
 Jenkins = George Thorne. November 14th, Rob Roy. Bailie Nicol- 
 Jarvie= M'Neill. February 22nd 1875, first appearance in Edinburgh of 
 Walter Bentley.* June 14th, first time of Girofid and Girofia in Edin- 
 burgh ; Knight Aston, Henry Corri, and Miss Rebecca Isaacs in the 
 company. August i6th. Our Boys. Talbot =E. W. Garden; Middle- 
 wick = Richard Younge ; the Butler =H. J. Craven; Violet = Miss L. 
 Vernon; Mary Melrose = Miss Fanny Brough. 
 
 The Theatre Royal being burnt down, M'Neill made the most 
 of the opportunity to secure the various companies that had been thrown 
 out of dates, and, by his spirited management, afforded the public of Edin- 
 burgh ample facilities for enjoying good acting, notwithstanding that only 
 one theatre remained open. This had an excellent result on the fortunes 
 of the theatre, as it brought hundreds of people about the place who 
 otherwise would never have dreamt of going there. 
 
 August 30th 1875, Miss Lydia Thomson's Blue Beard company, 
 with Lionel Brough, Miss Alice Atherton, Miss Rachel Sanger, Willie 
 Edouin, and Charles Collette. September 20th, Miss Litton's company, 
 including Charles Wyndham. December 6th, Vezin-Chippendale com- 
 pany, with Edmund Leathes, David Fisher junr., Ersser Jones, Compton, 
 
 • Son of Rev. Dr Begg. 
 
486 The Annals of the Edinburgh Stage. [1876-82. 
 
 Mrs H. Vezin, Mr and Mrs Chippendale, and other well known artistes 
 in a round of standard plays. 
 
 July loth 1876, Broken Hearts, by Gilbert, first time here, under the 
 management of Frank Emery. September 25th, the Yokes family ; and 
 on December 14th 1876, M'Neill's successful run of management may be 
 said to have culminated, when he produced what was perhaps the most 
 successful pantomime of recent times, namely. The Babes in the Wood. 
 The success was deserved, for all concerned worked well, and the exertions 
 more particularly of Messrs Allen Thomas, Brown and Newlands, the 
 sisters Mario, and little Bertie Farrell and Cissy Smith, were deserving of 
 all praise. It ran till March loth. 
 
 July 30th 1877, Pink Dominos, in which Alfred Maltby gave his 
 'nimitable impersonation of Old Tubbs. 
 
 The pantomime for 1877-8, Puss in Boots, was far from a success. 
 June 17th 1878, Les Cloches de Corneville. Serpolette = Miss Kathleen 
 Corri ; Germaine= Miss Florence St John ; Henri = Lithgo James ; Gobo 
 = Allen Thomas ; Bailie = Mat. Robson. September 23rd, first night of 
 .H.M.S. Pinafore in Edinburgh. J. H. Ryley was the Sir Joseph; Charles 
 J. Campbell, Ralph; Arthur Rousby, Dick Deadeye ; Miss Douglas 
 Gordon, Josephine ; and Miss Fanny Edwards, Little Buttercup. 
 
 October 26th 1878, Miss Marriott, who was a frequent visitor to the 
 Princess', played the part of young Norval in Douglas for her benefit. 
 
 August 4th 1879, Diplo7nacy. Septemoer ist, the Carl Rosa com- 
 pany produced Mignon for the first time in Edinburgh. The late Joseph 
 Maas, Leslie Crotty, Charles Lyall, Miss J. Yorke, Miss Georgina Burns, 
 and Miss Julia Gaylord, were all in the cast. During the same engage- 
 ment Piccolino was produced (September 3rd). September 2 2nd, Madame 
 Favart, the part of the Marquis by Beerbohm Tree. The pantomime — 
 the last produced in this house — was Robinson Crusoe. March 29th 1880, 
 Betsy, first time here. November 29th, that most excellent of modern 
 plays, The Old Love and the New, was produced. The Pirates of Penzance 
 (first production here) did duty in the place of a pantomime. It was produced 
 January 17th i88i,with David Fisherjunr.,G. W. Marnoch, George Marler, 
 and Miss Laura Clement in the cast. On March 20th 1882 Rob Roy was 
 revived, with a fine cast. M'Neill himself played Rob ; the veteran 
 Lloyd, Major Galbraith ; W. Gourlay, the Bailie ; and G. W. Traverner, 
 Francis, The scenery was by R. S. Smythe and G. S. Evans (for many 
 years the scenic artist of the theatre). It ran till April ist. 
 
1882-86.] The Annals of the Edinburgh Stage. 487 
 
 For the Christmas season 1882-3 Manteatix Noirs was produced on 
 December 25th ; and the following season (1883-4) Miss Minnie Palmer 
 was engaged. 
 
 On August 25th 1884 the house was reopened after extensive altera- 
 tions and decorations, but on November 7th of the same year Mr M'Neill 
 died, and the management of the Theatre passed into the hands of his 
 son, W. A. M'Neill, who, with great spirit, continued the concern against 
 the most powerful opposition. For Christmas 1 884-5 Falka was produced 
 (December 22nd to January 17th), and for 1885-6 j5'rwmze (December 
 2 1 St to end of January). 
 
 Some time after this, in order to obviate the difficulty of getting good 
 travelling companies, M'Neill formed a stock company, which bravely 
 struggled for several months, the last piece revived being the late 
 lessee's Gloamin and the Mirk. The house finally closed its doors on 
 May 22nd 1886. 
 
 THE VICTORIA TEMPLE. 
 
 The " Mound," whereon now stand the buildings of the National 
 Gallery and Royal Scottish Academy, our older citizens may remember 
 as being a spot of ground covered with little workshops, travelling 
 caravans, and wild beast shows. Among the edifices that stood there 
 about 1850, was a huge wooden Rotunda, which was originally opened in 
 1823 to exhibit pictures of the battle of Waterloo, &c. Another building 
 was the Victoria Temple, which, from its connection with William 
 Gourlay, the actor, is worthy of a slight notice in these pages. 
 
 In January 1848* we find Gourlay in possession of the place, with a 
 fully equipped dramatic company, which included D. Stewart (comedian 
 and comic vocalist), W. H. Eburne, Fenwick, and Smythe (leader of the 
 orchestra). In May, Mungall made his appearance; and Ray, from the 
 Royal, and T. C. King, from the York Circuit, starred during June. In 
 July 1848 Gourlay applied for a licence, in terms of the Act 6 and 7 Victoria, 
 cap. 78. The application was refused by 1 2 to 9, and Gourlay appealed 
 to the Quarter Sessions and gained his case. On September 4th 1848 it 
 opened as the " Royal Victoria Theatre." T. C. King remained as lead, 
 and George Webster t was engaged as heavy man, Scottish comedian, &c. ; 
 
 • The place had then been open for some years under Gourlay's management. 
 
 + Afterwards the famous Scottish comedian, whose Bailie was thought by many to be as good as Mackay s 
 
488 The Annals of the Edinburgh Stage. [1848-75. 
 
 Miss Aitken was the leading lady. On September 6th Webster played 
 Wandering Steenie, and on the itth Bailie Nicol Jarvie to King's Rob, 
 Mungall's Major, and Gourlay's Dougal. R. Younge appeared during 
 October. In June 1849 James Melrose joined the company; and on 
 September i6th Mrs Pollock (late Mrs Corbet Ryder), with Mr Pollock 
 and Miss Jessie Ryder,* paid a visit to this building, which, after a some- 
 what chequered existence, was pulled down soon afterwards to make room 
 for the projected improvements. 
 
 THESOUTHMINSTER. 
 
 The building situated in Nicolson Street, and known at different 
 
 times as the Southminster, Queen's Theatre, and at the present time as 
 
 Newsome's Circus, was used as a place of public entertainment from an 
 
 early date. It seems to have been built originally by Ducrow, some time 
 
 in the Twenties, and used by him for several seasons as an amphitheatre 
 
 or circus. In 1830 it was called " Royal AmiDhitheatre — late Ducrow's."t 
 
 Some time in the Forties the Cookes had a circus there, soon after which 
 
 a half caste called Pablo Fanque took the place, and built a stage where 
 
 regular plays were acted. Bruce Norton and the elder Gomersal had 
 
 it for a short time; and, as already noted, during the winter of 1853-4 1 
 
 Wyndham's company occupied the place while the Italian Opera was in 
 
 the Royal. Subsequent to that date it was called " Dunedin Hall," and 
 
 then the " Alhambra " Music Hall, the latter name being given to it by 
 
 Paterson, who occupied it for some time previous to going over to the 
 
 Princess'. As the Southminster, it enjoyed a few brief moments of fame, 
 
 when, upon the destruction of the Theatre Royal by fire in 1875, the 
 
 manager made arrangements with Mapleson to give three nights of 
 
 opera, commencing March 4th ; but on the 14th March the building was 
 
 burnt to the ground. In a very short space of time it was rebuilt in a 
 
 more substantial manner, and on December 13th 1875 was reopened as 
 
 " The Queen's Theatre," with a performance of La Sonnambula, in which 
 
 Albani appeared, the company including Zara Thalberg, and other noted 
 
 artistes. After being occupied as a theatre by J. B. Howard, the Queen's 
 
 was again destroyed by fire, since which time the building erected on the 
 
 site has been used as a circus and place of variety entertainment. 
 
 • Married Mr A. D. M'Neill in 1852. 
 
 t The above information is obtained from bills in the writer's possession. 
 
 X See p. 456. 
 
1875-6.] The Annals of the Edinburgh Stage. 489 
 
 THE EDINBURGH THEATRE. 
 
 The promoters of the Edinburgh Theatre were not the only people 
 who looked forward with confidence to the financial success of the under- 
 taking. If a magnificent building, handsome appointments, and the most 
 elaborate machinery for working everything on the stage, could have made 
 the scheme a success, the Edinburgh Theatre would probably have been 
 still in existence. It was opened* on December 20th 1875, under 
 Wybert Reeve, whose management cannot be recorded as brilliant. 
 He engaged a stock company, which included R. S. Pillans (low comedian), 
 W. H. Hallatt (juvenile lead), E. T. Webber (walking gentleman), Hilton 
 (old man). Miss Kate St Ange (light lead). Rose Saker, Blanche Col- 
 bridge, Mrs Bickerstaff (old women), and Miss Adeline Stanhope (lead). W. 
 Daly was director of the orchestra, and H. Dambmann, leader. On the 
 night of the opening, after " God save the Queen," and an address by Wybert 
 Reeve, Used Up was played. Sir Charles Coldstream = Wybert Reeve. 
 After which, His Last Legs. Felix 0'Callaghan = R. H. Wyndham, who 
 appeared for that night only. The performance to conclude with the 
 farce Brother Sandy, in which Pillans played Sandy M' Donald. On 
 December 21st, 22nd, and 23rd, As You Like Lt was played, with 
 the following cast : — Jaques = W. Bentley ; Touchstone = Compton ; 
 Adam = Chippendale ; Orlando = Hallatt ; Rosalind = Miss Stanhope. An 
 exceedingly interesting first appearance was that of Salvini on March 27th 
 1876. His first play was Othello, in which he was supported by his own 
 company. Othello w^s again given on the 29th and April ist. On March 
 31st and April 3rd he played Hamlet, and on April 5th Macbeth. 
 
 The house was closed for some little time, and reopened on Monday, 
 August 14th, for the autumn season, when Princess Toto was given by 
 Miss Kate Sandey, J. H. Ryley, J. Wainwright, &c. On August 17th 
 the Queen unveiled the Albert Memorial in Charlotte Square, and in the 
 evening some of the Royal suite visited the Theatre. On August 28th 
 The Lady of the Lake was produced with much magnificence, A. D. 
 M'Neill playing Roderick Dhu. On September i8th John Clayton gave 
 his wonderfully powerful impersonation of Hugh Trevor in All for Her. 
 Mathews, the Bandmanns, and Talbot, followed during the autumn, and on 
 November 13th Mapleson's Italian Opera Company commenced a twelve 
 nights engagement. The last night was Fidelio (November 25th), when 
 
 * It is perhaps worth noting that this house was opened under Royal Letters Patent, this privilege having 
 been transferred from the Royal, to which house it was eventually restored. 
 
490 The Annals of the Edinburgh Stage. \\%']']. 
 
 Mdlle. Titiens took her benefit, and gave what proved to be her last per- 
 formance in Edinburgh. Carl Rosa's Company occupied the boards from 
 February 19th 1877 to March 3rd, during which period were produced 
 Pauline, Fidelia, Zampa, Flying Dutchman, and Siege of Rochelle. 
 
 John Coleman's superb spectacle production of Henry V. was pro- 
 duced on March 5th ; and on April 2nd 1877 Mrs Stirling announced a 
 twelve nights' engagement, and with her last performance on Saturday, 
 April 14th [Masks and Faces), the history of this splendidly equipped 
 theatre comes to a close. 
 
 The building was shortly afterwards exposed for sale by public 
 roup, and eventually knocked down to a dissenting body of Scottish 
 Presbyterians, who paid for it about one fourth of the original cost. 
 The entire fittings, furniture, &c., were sold off by auction, and, in 
 process of time, the place, after an extensive process of rebuilding, was 
 opened as a Synod Hall and Offices of the U. P. Church. 
 
APPENDIX. 
 
APPENDIX. 
 
 No. I. 
 
 Prologue at the Opening of the Theatre Royal in Edinburgh, 
 December qth 1769. Written by James Boswell, Esq. Spoken 
 BY Mr David Ross. 
 
 Scotland for learning and for arms renown'd 
 In ancient annals, is with lustre crown'd, 
 And still she shares whate'er the world can 
 
 yield, 
 Of lettered fame, or glory in the field : 
 In every distant clime Great Britain knows. 
 The Thistle springs promiscuous with the 
 
 Rose. 
 While in all points with other lands she vied. 
 The Stage alone to Scotland was denied : 
 Mistaken zeal, in times of darkness bred, 
 O'er the best minds its gloomy vapours spread ; 
 Taste and religion were suppos'd at strife. 
 And 'twas a sin — to view this glass of life ! 
 When the Muse ventur'd the ungracious task, 
 To play elusive with unlicens'd mask. 
 Mirth was restrain'd by statutory awe, 
 And tragic greatness fear'd the scourge of 
 
 law ; 
 
 Illustrious heroes arrant vagrants seem'd. 
 And gentlest nymphs were sturdy beggars 
 
 deem'd. 
 This night, lov'd George's free enlighten'd 
 _ age 
 Bids Royal favour shield the Scottish stage ; 
 His Royal favour ev'ry bosom cheers ; 
 The Drama now with dignity appears. 
 Hard is my fate if murmurings there be. 
 Because the favour is announc'd by me. 
 
 Anxious, alarm'd, and aw'd by ev'ry frown. 
 May I entreat the candour of the town ? 
 You see me here by no unworthy art ; 
 My all I venture — where I've fixed my heart. 
 P'ondly ambitious of an honest fame. 
 My humble hopes your kind indulgence 
 
 claim. 
 I wish to hold no right but by your choice 
 I'll risk my patent on the public voice. 
 
 Mrs Siddons' Address, November 4th 1828. 
 
 Mrs Siddons. (Speaking behind). 
 Don't talk to me ; I tell ye it's a shame, 
 And all before the curtain say the same. 
 
 (Entering.) 
 I enter certainly in strange confusion, 
 But hope you'll pardon my abrupt intrusion. 
 When I confess my present situation 
 Is one so full of pain and irritation. 
 That, no more able my complaints to 
 smother. 
 
 At your Tribunal I impeach — my Brother, 
 Of misdemeanours without stint or measure, 
 Of disobedience to my royal pleasure ; 
 For say whate'er I will, his pompous frown. 
 And plump negatur, knock my project down. 
 Till my whole reign's one scene of pet and 
 
 worry, 
 Like poor Queen Mary and her Regent 
 
 Murray. 
 To-night my wish to speak to you was met 
 
494 
 
 Appendix. 
 
 By the old answer, " 'tis n't etiquette ; " 
 But I'm determined, and now ask the reason, 
 If with a speech my brother ends the season, 
 AVhy I, when here beginning one anew, 
 May not indulge in speechifying too ? 
 'Tis hard enough resigning the last word. 
 But more to humour him is quite absurd. 
 He with a bow may see you out, and then 
 I will with curtseys welcome you again. 
 Which is the more Judicious system, tell, — 
 His most respectfully bidding you farewell ? 
 Or the new practice I to-night begin 
 Of, as respectfully, bidding you walk in ? 
 At least I'll try it ; when all's done and past, 
 I can't make this year worse than he the 
 
 last. 
 Indeed I'm somewhat tired of the elf, 
 And think of looking into things myself; 
 For tho' reluctant to speak ill, I own. 
 Of " Regent Murray," he mistakes the town. 
 
 As don't be angry now, but, entre nous, 
 
 'Tis not so much what's good, as what is 
 
 new. 
 Oft brings you here ; and truly 'tis a bore, 
 For ever hearing what you've heard before ; 
 To see the bills present you nothing daily 
 But the old names— Jones, Denham, and the 
 
 Bailie. 
 At night compelled to stay at home, or go 
 And see " Rob Roy," " Guy Mannering," 
 
 and " No ; " 
 Paul Pry's intrusions, or Pong Wong's 
 
 grimaces, 
 Pritchard's deep agonies, or Mason's faces. 
 Then, tho' from " Indies to the Pole " we 
 
 rove, 
 'Tis all " Sweet Home," " Young Love," or 
 
 " Kelvin Grove." 
 Nay, I expect some night, the Thane of 
 
 Cawdor 
 Will introduce '' Blue Bonnets o'er the 
 
 Border," 
 Nor should I wonder Hotspur taught his 
 
 Starling 
 To tell King Henry, " Charlie was his dar- 
 ling"— 
 " Toujours Perdrix " wont do, that's very 
 
 clear ; 
 So, Call Boy (enter Call Boy) send Mr 
 
 Murray here. 
 
 (Exit Call Boy). 
 And on the instant, friends let's try now 
 
 whether 
 
 We can't reform this system altogether. 
 
 Enter Mr Murray. 
 Come hither, manager. (Mr Murray boti's 
 
 respectfully.) 
 
 Some hold opinion 
 You've lately failed in talents for dominion ; 
 So now to skill and character depone. 
 Or else " Othello's occupation's gone ; " 
 For if convicted here, beyond all doubt 
 I take the reins myself and walk you out. 
 
 ]Mr Murray. 
 Sister, I needs must think some better 
 
 way 
 
 Mrs H. SiDDONS. 
 I care not, William, what you think or say. 
 Answer this question — Did last season pay ? 
 No. — Then, as like kings, the public do no 
 
 wrong. 
 To managers, like ministers, belong 
 All faults and failures. But I'll talk no 
 
 more ; 
 These are your judges, as I said before. 
 (To the audience.) To your decision I refer 
 
 his cause. 
 
 Guilty, a hiss ; — Not Guilty — then, applause. 
 
 Mr Murray (to the audience and 
 
 advancing. ) 
 
 Soft you, a word or two before I go — 
 
 I've done the state some service, perhaps you 
 
 know ; 
 No more of that. I pray you in your letters, 
 Stating these deeds unlucky to my betters. 
 Speak of me as I am, extenuate naught. 
 Nor in malicious language set down aught — 
 Then must you speak of one, who, truth to 
 
 tell. 
 Managed not wisely, but intended well. 
 Who owns, a lady's anger to appease. 
 He fail'd in judgment, not in wish to please ; 
 Set you this down, and set you down besides, 
 He bends at once, to what your voice de- 
 cides. 
 If murmurs follow me, I'm lost of men, 
 But if applause — Richard's himself again ! 
 
 Mrs H. SiDDONS. 
 Neni. con. 'tis carried ; then I re-instate him. 
 And Generalissimo anew create him. 
 My hand shall sign, 'tis yours must set the 
 
 seal, — 
 A kindness which I trust he'll ever feel, 
 And, like myself, for ever keep in view. 
 He owes his All — to you — and you — and you. 
 (To Gallery, Boxes, and Pit.) 
 
Appendix. 
 
 495 
 
 Farewell Address written by Sir Walter Scott, and spoken by 
 Mrs H. Siddons on her Farewell Benefit, Monday, March 
 29TH 1830. 
 
 The curtain drops — the mimic scene is past — 
 One word remains — the saddest and the last: 
 A word which oft in careless mode we say, 
 When parting friends have pass'd a social day ; 
 As oft pronounced in agony of heart. 
 When friends must sever, or when lovers part; 
 Or, o'er the dying couch, in whispers spoken. 
 When the frail thread of life is all but broken — 
 When all that ear can list, or tongue can tell. 
 Are the last mournful accents, fare ye well ! 
 Such is the spell the actress must divide 
 From duties long her pleasure and her pride. 
 So brief the syllables that must bid adieu 
 To public life, to Scotland, and to you ; 
 To hopes — to doubts — to efforts — and to fears, 
 And all the business of my scenic years. 
 Yet ere we part — and even now a tear 
 Bedims my eye to think our parting near — 
 Fain would I speak how deeply in my breast 
 Will the remembrance of your kindness rest ! 
 Fain would I tell, but words are cold and weak. 
 It is the heart, the heart alone can speak. 
 The wanderer may rejoice to view once more 
 The smiling aspect of her native shore ; 
 Yet oft in mingled dreams of joy and pain 
 She'll think she sees this beauteous land 
 
 again, 
 And then, as now, will fond affection trace 
 
 The kindness that endeared her dwelling- 
 place. 
 Now, then, it must be said — though from the 
 
 heart 
 The mournful accents scarcely will depart, 
 Lingering, as if they feared to break some 
 
 spell — 
 It must be uttered — friends, kind friends, fare- 
 well ! 
 One suit remains — you will not scorn to hear 
 The last my lips shall falter on your ear — • 
 When I am far, my patrons, oh ! be kind 
 To the dear relative I leave behind ; 
 He is your own, and, like yourselves, may 
 
 claim 
 A Scottish origin — a Scottish name : 
 His refined talents — let the truth be told, 
 A sister in a brother's cause is bold — 
 Shall cater for your eve of pleasure still, 
 With equal ardour, and improving skill ; 
 And though too oft the poor performer's lot 
 Is but to bloom, to fade, and be forgot. 
 Whene'er the mimic sceptres they resign, 
 A gentler destiny I feel as mine ; 
 For as the brother moves before your eyes, 
 Some memory of his sister must arise ; 
 And in your hearts a kind remembrance dwell 
 Of her, who once again sighs forth — farewell ! 
 
 No. II. 
 
 Principal Members of the Theatre Royal Companies from 1769 
 
 TO 1 85 1. 
 
 Every care has been taken to make the following lists as complete as possible, and no name has been 
 inserted for which there has not been a sufficient guarantee. Where any doubt existed as to the correctness 
 of including a particular name in any of the seasons, it has been omitted rather than incur the chance of 
 making a mistake. 
 
 1769-70. D. Ross, lead; Beatt, Collins (old men), Jackson (second lead), Lancashire (low 
 com.*), Parsons (tenor), Mrs Baker (lead), Mrs Jackson. 
 
 * Contractions used : — T.R.= Theatre Royal ; D.L. = Drury Lane ; Hay. = Haymarket ; Ly. = Lyceum ; 
 C.G. =Covent Garden ; E. Op. House=English Opera House ; B'ham.=Birmingham ; Dub. ^Dublin ; Glas. 
 := Glasgow; L'pool.= Liverpool ; Manr. = Manchester ; Com. =; Comedy ; Voc. = Vocalist. 
 
49 6 Appendix. 
 
 '770-1. Bayne, Collins, Dancer, Didier, S. Foote, Farrell, Fearon, Grove, Knowles, Lan- 
 cashire, Maurell, Robson, Seymour, Sowdon, Vowell, Vandermere, Woodward, 
 
 Weston, Mrs Baker, Mrs Collins, Mrs Didier, Mrs Fearon, Miss Hart, Mrs Jewell, 
 
 Mrs Jackson, Mrs Weston. 
 1771-2. Adcock, Digges, Fleetwood, Greville, Hague, Knight, Moss, Woods, Young, Miss 
 
 Adcock, Mrs Baker, Mrs Greville, Mrs and Miss Granger, Mrs Hartley, Mrs Pinto, 
 
 Miss Withington. 
 1772-3. Digges, Fleetwood, Inch bald. Moss, Wilson, Woods, Ward, Weston, Mrs Charteris 
 
 (old women), Mrs Inchbald, Mrs Weston (late Miss Adcock), Miss Withington. 
 1773-4. Charteris (low com.), Digges, Death (walking gent.), Inchbald, Mo.ss, Woods, 
 
 Wilson, Ward, Weston, Mrs Charteris, Mrs Inchbald, Mrs Jewell, Elliot (scene 
 
 painter). 
 1774-5. Beynon (lead), Digges, Dutton (low com.), Hallion, Inchbald, Jackson (from 
 
 February 13th), Woods, Mrs Inchbald, Mrs Jackson, Mrs Jewell, Mrs Simpson 
 
 (juv. lead). Miss Stamper, Elliot (scene painter). 
 1775-6. See page 167. 
 1776-7. The same, except Inchbald and Ross ; addYJcag, M'Cready, Richards, Wilkinson, and 
 
 Mrs Richards. 
 1777-8. Males the same <■.«■«// Digges, Dutton, King, and M'Cready; add Jefferson (lead 
 
 from I). L.), Mrs Charteris, Mrs Jarrat (D. L.), Mrs Lee, Miss Mansell (Bath), 
 
 Mrs Mills, Mrs Sparks, Mrs Woods, Mrs Webb, Miss Withington. 
 1778-9. See foot of page 173. 
 1779-80. Bailey (T. R., Dub.), Cautherby, Chalmers, Charteris, Hallion, Lane (second lead), 
 
 Lyon, Woods, Wilkinson, Mrs Hart, Mrs Hitchcock, Mrs Montague (T. R., Dub.), 
 
 Mrs Shield, Mrs Woods. 
 1 780-1. Charteris, Fowler (old men), Graham, Heaphy, Hallion, Powell, Ross, Stanton 
 
 (tenor), Taplin, Woods, Miss Hurst, Mrs Heaphy, Mrs Taplin, Mrs Woods. 
 1 78 1-2. Add to names mentioned on p. 183 Gaudry (tenor), John Jackson, Knight, Marshall, 
 
 Sutherland, Simpson, Tannet, Williamson, Mrs Gaudry, Mrs Henderson, Mrs 
 
 Jackson, Miss Kirby, Mrs Marshall, Mrs Mountfort, Mrs Tannet, Mrs Woods. 
 1782-3. Bell, Bland, Charteris, Dodd, Fowler, Girst, Hallion, Lamash, Moss, Mountfort, 
 
 Sparks, Simpson, Tannet, Ward, Woods, Mrs Bulkley, Mrs Baddeley, Mrs Burden, 
 
 Mrs Cornelys, Mrs Charteris, Miss Farren, Mrs Jackson, Mrs Mountfort, Mrs 
 
 Sparks, Mrs Walcot, Mrs Woods. 
 T 783-4. Males same as last except Dodd, Fowler, Girst, and Ward, and add Collins, W. 
 
 Wells, and Davis, Mrs Baddeley, Mrs Charteris, Mrs Henderson, Mrs Jackson, 
 
 Miss Morris, Mrs Mountfort, Mrs Sparks, Mrs Tannet, Mrs W. Wells. 
 1784-5. Bell, Bland, Clinch (T. R., Dub., February 21st), Charteris, Duncan (T. R., Dub., 
 
 January isth), Davis, Everard (D. L., loth January), Hallion, Kipling, Lamash, 
 
 Mountfort, Powell, Woods, Ward, W. Wells, Waylett (January loth), Mrs Bulkley, 
 
 Mrs Baddeley, Mrs Charteris, Mrs Duncan, Mrs Kipling, Mrs Jackson, Mrs 
 
 Mountfort, Mrs Sparks, Mrs W. Wells, Mrs Woods. 
 1785-6. Bell, Betterton (T. R., Dub., January 26th), Bland, Charteris, Clinch, Hallion, Iliff 
 
 (January 19th), Kijiling, Lamash, Mountfort, Mayson, Sparks, Wilson, Woods, 
 
 W. Wells, Mrs Crawford, Mrs Charteris, Mrs Iliff, Mrs Jackson, Mrs Kipling, Mrs 
 
 Mountfort, Mrs Sparks, Mrs W. Wells, Mrs Woods. 
 1786-7. Add to names on page 198, Archer, Bland, senr., Charteris, senr. and junr., 
 
 Fennell, Hallion, Mayson, Sparks, Villars, Mrs Charteris, Mrs Iliff, Mrs Jackson, 
 
 Mrs Lamash, Mrs Villars, Mrs Woods, Mrs W. Wells. 
 1787-8. Same as last year except Mr and Mrs Iliff, Mr and Mrs Lamash, Mr and Mrs Kemble, 
 
 Mayson, Mr and Mrs Robinson, Ward, Yates, and Mrs Wroton ; add Williamson, 
 
 Mrs Brooks, Mrs Bulkley. 
 1788-9. Archer, Bell, Bland, Charteris, senr. and junr., Davis, Finch, Hallion, King, Moss 
 
Appendix, 497 
 
 Sparks, Wilson, Woods, Williamson, Mrs Barresford, Mrs Charteris, Mrs Coates, 
 Mrs Hughes, Mrs Jackson, Mrs Sparks, Mrs W. Wells. 
 
 1789-90. Add to names mentioned on p. 209, Bell, Bland, Charteris, senr. and junr.. Mount- 
 fort, Mrs Archer, Mrs Charteris, Mrs Sparks, Mrs Mountfort. 
 
 1790-r. Bell, Biggs, Bland, Bew, Charteris, senr. and junr., Guion, Hallion, Kennedy, 
 Lamash, Mountfort, Ryder, Sparks, Toms, Woodroffe, Williams, Williamson, Mrs 
 Biggs, Mrs Barresford (lead), Mrs Charteris, Mrs Jackson, Mrs Kennedy, Mrs 
 Mountfort, Miss R. and Miss Ryder, Mrs Sparks, Mrs W". Wells. 
 
 1791-2. See pages 215 and 216. 
 
 1792-3. See pages 219, 220-1-2. 
 
 1793-4. See pages 223-4. 
 
 1794-5. Barnet (tenor, C. G.), Blanchard (C. G.), S. Clark, Davis, Damash, S. Kemble, 
 Nunns, H. Siddons, Woods, Williams, Wewitzer, Underwood (Bath), Miss Barnet, 
 Mrs Blanchard (D. L.), Mrs Egan (late Miss Hartley), Mrs S. Kemble, Mrs Walcot. 
 
 1795-6. Add to names on second half of p. 228 — Davis, Hallion, Scriven, H. Siddons, 
 Williams, Mrs Davis, Mrs S. Kemble, Mrs Walcot. 
 
 1796-7. Bew, Barnet, Bramwell, Bennett (Norwich), Cory, Creswell (T. R., L'pool, January 
 16), Decamp (D. L., January 16), Egan, Hallion, S. Kemble, Melvin (Margate), 
 Rock, Ryley, Scriven, H. Siddons, Woods, Miss Biggs, Mrs Bew, Mrs Creswell 
 (T. R., L'pool). Miss Gough, Miss Kemble (Newcastle. i6th January), Mrs Ryley, 
 Mrs Walcot. 
 
 1797-8. See second half of p. 231. 
 
 1798-9. Bew, Bland, Fisher (T. R., Man'r), Power (T. R., L'pool), Rock, H. Siddons, 
 Scriven, Walpole (T. R., L'pool), Woods, Mrs Atkins, Mrs Bew, Miss Biggs, Miss 
 Fisher, Mrs Knight, Miss F. Kemble, Mrs S. Kemble, Miss Kemble, Miss Smith 
 (Bath). 
 
 1800. S. Kemble, Macready, Rock, H. Siddons, Swendall, Woods, Miss Biggs, Mrs Kemble, 
 Miss Perry. 
 
 1800-1. ^i/(/ to names on pp. 241-2, Duncan (died January 1801), Egan, Grant, Hallion, 
 Hunter, Toms, Mrs Duncan, Miss Duncan, Mrs Turpin. 
 
 1801-2. Grant, Mattocks, Rock, Turpin, C. M. Young, Woods (last season), Miss Biggs, 
 Miss and Mrs Duncan, Mrs Turpin, Miss Walstein. Mrs Ward. 
 
 1802-3. Hallion, Jones, Mullender, Rock, Roberts, Turpin, Toms, C. M. Young, Mrs 
 Charteris, Miss Duncan, Mrs Ward. 
 
 1803-4. Add to names on p. 247, Berry, Roberts, Toms, Ward, Mrs Brereton, Mrs Berry, 
 Mrs Evatt, Mrs Turpin, Mrs Willoughby. 
 
 1804-5. Add to names on p. 248, Toms, Willoughby, Mrs Brereton. 
 
 1805-6. Add to names on p. 249 and top of p. 250, Watson, Wrighton, Rock, Mrs Berry, 
 Mrs Willoughby, Mrs Turpin. 
 
 1806-7. .'^^'Z to names on p. 251, Barker, Vining, Watson, Hallion, Trueman, Mrs, Miss, 
 and Miss K. Charteris, Mrs Nicol, Mrs Walton. 
 
 1807-8. See page 253. 
 
 1808-9. Archer (heavy). Berry, Barker, Dalton, Dwyer, Evatt, Jones (utility). Power, Putman 
 (May 31st 1809, D. L.), Rock, Sowerby (December 26th), Trueman, Vining, 
 Wheatly (lead, 26th November, T. R., Bath), Mrs Beverley (Nov. 26th, T. R., 
 Bath), Mrs Berry, Miss and Miss K. Charteris, Mrs Edwin (lead, T. R., Dub.), 
 Mrs Nicol, Mrs W. Penson, Miss Rock, Mrs Vining, Miss Walton (heavy). 
 
 1809-10. (New Theatre Royal). Archer, Berry, Barker, Duff, Jones, Kelly (low com., 
 Nov. 14th, Man'r.), Kent (light com., November i6th, D. L.), W. H. Murray, 
 Mason (November 14th, L'pool), Mountfort, M'Namara, Putman (juvenile lead). 
 Power, H. Siddons, D. Terry (lead, November 29th, L'pool), Vining, Villars, Mrs 
 Berry, Miss Fenwick, Mrs M'Namara, Mrs Nicol, Mrs W. Penson, Mrs Power, 
 Mrs H. Siddons, Mrs Stanfield, Mrs Vining, Mrs Young. 
 
 2 I 
 
498 Appendix. 
 
 1810-11. Kelly, Mountfort, Putman, Vining, and Villars left; (7(/(^ Anderson and Halliwell; 
 Miss Fenwick and Mrs Vining left. 
 
 1811-12. Mrs Young left ; Eyre, Mrs Anderson, Mrs Y,^^^ joined; remainder same as last. 
 
 1812-13. Add io names on p. 267, Anderson, Bromley, Barker, Grant, Halliwell, W. H. 
 Murray, Mason, Neville, Trueman, Mrs Bromley, Miss Douglas, Mrs Halliwell, 
 Mrs M'Namara, Mrs and Miss Nicol, Miss Stanfield. 
 
 1813-14. Archer, Adcock (November 22nd), Anderson, Bromley, Barker, Chippendale (July 
 25th 1814), Duff, Eyre, Finn, Halliwell, Jones, Lacy (July 25th 1814), W. H. 
 Murray, Mason, Munro (November 25th, Brighton). Russell (low com.), H. Siddons, 
 Trueman, Mrs Bromley, Mrs Chippendale, Miss Douglas, Mrs Eyre, Mrs Halliwell, 
 Mrs Nicol, Miss Stanfield, Mrs H. Siddons, Mrs W. Benson. 
 
 1814-15. Anderson, Mr and Mrs Halliwell, Mason, and Munro left; Bristow, Edwards,Melville, 
 Mullender, Putman, Penson, Mrs Cummins, Mrs Moss, joined ; remainder the 
 same. 
 
 1815-16. Adcock, Alexander (utility, November i8th), Benson, Bristow, Barker, Chippendale, 
 Crook, Duff, Eyre, Finn (heavy), Jones, W. H. Murray, Mason, Melville, Putman, 
 Russell, Trueman, Mrs Belfield, Mrs Berry, Mrs Cummins, Miss Dyke, Miss 
 Douglas, Mrs Eyre, Mrs Moss, Mrs and Miss Nicol, Mrs W. Penson, Mrs H. 
 Siddons, Miss Stanfield. 
 
 1816-17. .r^fl'^ to names in cast of Guy Mannering, p. 275 — Alexander, Benson, Barker, True- 
 man, Mrs Eyre, Mrs Macnamara, Mrs Moss, Miss Nicol, Mrs Stanton. 
 
 1 817-18. Alexander, Anderson, Benson, Barker, Chippendale, Crook, Duff, Edwards, Jones, 
 W. H. Murray, Mason, Putman, Russell, F. Yates, (February i6th), Mrs Cummins, 
 Miss Dyke, Miss Decamp, Mrs Eyre, Mrs Moss, Mrs Nicol, Miss Nicol, Mrs 
 Renaud, Mrs H. Siddons, Miss E. Stanfield. 
 
 1818-19. Add to cast of Rob Roy, p. 286-7 — Barker, Calcraft, Jones, Yates, Mrs Cummins, 
 Miss Dyke, jNIrs Eyre, jVIrs Mackay, Mrs H. Siddons, Miss E. Stanfield. 
 
 1819-20. Add to names on p. 293 — Anderson, Bell, Duff, Denham, M'Grigor, Mrs Cummins, 
 Mrs Eyre, Mrs Mackay, Mrs and Miss Nicol, Mrs Renaud, Miss Stanfield. 
 
 1820-1. Add to cast oi Antiquary, p. 296, Alexander, Huckel, Loveday, Power, Stanley (low 
 com.), Terry, Weekes (Irish parts, &c., February 12th, T. R., Dub.), Mrs and Miss 
 Eyre, Mrs \V. Jlurray, Mrs Mackay, jMrs H. Siddons, Miss Stanfield. 
 
 1821-2. Add to cast of Montrose and Lammermoor, pp. 297-8, Anderson, Hillyard, Mason, 
 Power, Stanley, Weekes, Mrs Cummins, Mrs Eyre, Miss Murray (no relation to the 
 manager), Mrs Mackay, Mrs W. Murray, Miss and Misses J. and M. Nicol, Miss 
 Stanfield. 
 
 1822-3. ■^^'^ to cast of George Ileriot, p. 306, Duff, Faulkner, Hillyard, Jones, Mason, 
 Power, Vandenhoff (lead. 6th January, T. R., L'pool), Weekes, Miss Halford, Miss 
 Murray, Mrs Mackay, Miss Nicol, Misses J. and M. Nicol. 
 
 1823-4. Add to cast oi Ivanlwe, pp. 307-8, Jones, Vandenhoff, Mrs Mackay, Mrs Nicol, Mrs 
 Stanley. 
 
 1824-5. ^^rt' to casts on pp. 311 and 312, Ebsworth, Jones, Power, Mrs Berry, Miss and Mrs 
 Eyre, Miss Mason, Mrs Mackay, Mrs Nicol, Mrs Stanley. 
 
 1825-6. Add to cast of Woodstock, p. 3i8, Armstrong, Lynch, Power, Stanley, Thome, 
 Vandenhoff, Villars, Mrs Berry, Mrs Brudenell, Miss Bristow, Mrs and Miss Eyre, 
 Miss and Miss C. Murray, Mrs, Miss, and Miss J. Nicol, Miss Noel, Mrs Renaud, 
 Mrs Stanley, Miss and Miss E. Villars, Mrs Wilton. 
 
 1826-7. Add to cust of Gilderoy, p. 319, Armstrong, Ebsworth, Felton, Jones, Lynch, W. 
 H. Murray, Rayner, Stanley, Thome, Vandenhoff. Ladies same as last year, except 
 Mrs Brudenell, Misses Nicol, and Mrs Villars, left, and Miss Fairbrother, and Miss 
 Tunstall, joined. 
 
 1827-8. Add to c's&t oi Charles Ed7i<ard, f^. 2,21, Q,■a.xa^^\lt\\, Clifton, Ebsworth, Felton, Fer- 
 guson (November iplh, T. R., Glas.), Hambleton, James, Jones, Mathews (heavy), 
 
Appendix. 499 
 
 Power, Stanley, Thome, Vandenhoff, Weekes. Ladies same as last year except 
 Mrs Walton, left, and Miss GrSiy, joined. 
 1828-9. Addio names on pp. 324-5, Rae, Mrs Berry, Mrs Eyre, Miss and Miss S. Fair- 
 brother, Miss Mason, Mrs Stanley, Miss Tunstall. 
 1829-30. Barton, Denham, Hart, Hooper, Larkin, Mackay, Mathews, Murray, Power, 
 Pritchard, Rae, Stanley, Montague Stanley, Vandenhoff, Williams, Mrs Evans, Mrs 
 and Miss Eyre, Miss Fairbrother, Miss Jarman, Miss Murray, Mrs Nicol, Miss 
 Pincot, Mrs Renaud, Mrs H. Siddons, Mrs Stanley, Miss Tunstall. 
 1830-1. Add to names on p. 350, Denham, Hooper, Jones, Mackay, Power, Pritchard, 
 Roberts, Stanley, Mrs Eyre, Miss Fairbrother, Miss M. Murray, Miss Turpin, Mrs 
 Stanley. 
 183 1-2. Diddear (lead, July 2nd, 1830, C. G.), Faucit, Gardner (low com.), Mackay, Mason, 
 Martyn (bass, October 3rd, Bristol), Murray, Power, Powell (heavy, October 4th, 
 York), Pritchard, Feddie, Roberts, Stanley, Ternan, White, Miss Byfeld, Mrs Eyre, 
 Miss Fairbrother, Mrs Faucit, Mrs Aaron Hill, Miss Jarman, Miss Mason (lead), 
 Miss Murray, Mrs Nicol, Miss Newton (soubrette), Mrs Stanley. 
 1832-3. Barrett (heavy), E. Edmunds, Faucit, Lloyd (low com., October ist, T. R., Glas.), 
 Lacy, Mason, Murray, Mackay, Pritchard, Peddie, Power, Roberts, Ternan, Miss 
 Byfeld, Mrs Eyre, Mrs Faucit, Miss Hartley, Miss Jarman, Miss Mason, Miss 
 Murray, Miss Newton, Mrs Nicol. 
 1833-4. Balls (light com., October 7th, D.L.), Barrett, Jones, Lloyd, Mackay, Murray, 
 Peddie, Roberts, Montague Stanley, Power, White, Miss Byfeld, Mrs Eyre, Miss 
 Gilbert, Miss Hartley, Miss Jarman, Mrs Macnamara, Miss Newton, Mrs 
 Nicol. 
 1834-5. Addison (old man), Balls, Barker (tenor), Coveney, Faucit, Frampton, Graham, 
 Gough, Harrington (heavy), Lloyd, Mackay, Murray, Maddocks, Power, Roberts, 
 Montague Stanley, Miss Byfeld, Miss and Misses J. and E. Coveney, Mrs Faucit, 
 Miss Fairbrother, Mrs Hield, Miss Hartley, Misses Mattley, Miss Nicol, Miss 
 Newton, Miss Novello, Miss Rankley (lead, November 8th, T. R., Exeter). 
 1835-6 Bedford (tenor). Binge (tenor), Bishoff (bass), George Cooke (old men), Daly (Irish 
 com.), George Ellis (walking gent), Edmunds (utility), George Fisher, Faucit, 
 Graham, Lloyd, Mackay, Murray, Power, Peddie, Montague Stanley, Misses J. 
 and E. Coveney, Misses Ebsworth, Miss Fairbrother, Mrs Fisher (lead). Miss 
 Gossop, Mrs Hield, Misses Mattley, Miss Newton, Miss Nicol, Miss Novello, Mrs 
 Turnbull. 
 1836-7. Barry (old men). Crisp, Fisher, Graham, Gourlay (utility), Manvers (tenor), Mackay, 
 Murray, Nimmo, Power, Roberts, Roxby (light com., 12th November), Montague 
 Stanley, Smythson, Lloyd, Mrs Parsons Crowe, Miss E., H., and J. Coveney; Mrs 
 Crisp, Miss Ebsworth, Miss Lucy Fisher, Miss P. Horton, Mrs Manvers (heavy). 
 Miss Nicol, Miss Newton, Miss Vining, Mrs Turnbull. 
 1837-8. Add to cast oi Merry Wives, p. 372 — Barker, W. H. Crisp. Nimmo, Rae, Miss and 
 Misses H. and J. Coveney, Miss Julia Cruise, Miss Ebsworth, Miss Newton, Mrs 
 R. Power, Miss Saunders, Mrs Turnbull. 
 1838-9. Crisp, Cunningham (walking gent.), Euston, Gourlay, Hayes (Irish com.), Lloyd, 
 Mackay, Murray, Nimmo, Pritchard, Power, Skerrett, Mrs Bushe (late Miss Noel), 
 Mrs Crisp, Miss Julia Cruise, Miss Ebsworth, Miss Fairbrother, Mrs and Miss 
 Griffiths, Miss Nicol, Miss Newton, Mrs Stanley, Mrs Turnbull, Miss AVallack. 
 1839-40. Add to cast of Oliver Twist, p. 376 — Euston, Gourlay, Horton (walking gent.), 
 Mackay, Pritchard, Rae, Mrs Brookes (heavy), Mrs Crisp, Miss Ebsworth, Miss 
 Newton, Mrs Skerrett, Mrs Turnbull. 
 1840-1. Add to names on p. 378-9 — Crisp, Euston, Grainger (old men), Horton, Howard 
 (walking gent ), Mackay, Murray, Rae, Mrs Crisp, Misses Ebsworth, Miss Julia 
 Smith, Mrs Tdlett (soubrette), Mrs Turnbull, 
 
500 Appendix. 
 
 1841-2. See pp. 382-3. 
 
 1842-3. Anderson, Sam Cowell, H. Corri, Crisp, Eburne, W. Howard, Edmund Glover, 
 Leigh, Lloyd, Murray, Melrose, Power, Ray, Sullivan, Mis Brookes, Mrs S. Cowell 
 (late Miss Ebsworth), Miss M. Ebsworth, Mrs Leigh, Miss Clara Lee, Miss Mac- 
 farlane, Miss Nicol, Mrs Tellett, Mrs Turnbull, Miss E. Montague. 
 
 1843-4. Same as last except Crisp, Melrose, Power, Sullivan, Clara Lee, and Miss E. Mon- 
 tague, hjt ; '^o%(t\hs, joined. 
 
 1844-5. ^^^ to names on p. 392, Bedford (walking gent.), Couldock (heavy), Eburne, Glover, 
 Gourlay, Honey, Josephs, Leigh, Lester, Lloyd, Melbourne (low com.), Murray 
 (appeared only at end of season), Melrose, Ray, Wyndham, Miss Davis, Miss R. 
 Isaacs, Miss Gilbert, Miss C. Lee, Mrs Leigh, Miss Macfarlane, Mrs Turnbull. 
 
 1845-6. AddXo names on p. 395, Bedford, Clifford (tenor), Eburne, Josephs, Maynard, Miss 
 Ebsworth, Mrs Reynolds. 
 
 1846-7. Add 10 names on p. 397, Birch (heavy), Josephs, Melrose, Ray, Vaudrey (walking 
 gent.), Vivash, Miss Conner, Miss Harriet Coveney, Mrs Josephs, Miss and Miss 
 E. May, Miss Vivash. 
 
 1847-8. Add io names on pp. 400-1 Carroll, Eburne, Miss Rose Dewar, Mrs Josephs, Miss 
 May, Mrs Tellett, Mrs Turnbull, Miss Vivash. 
 
 1848-9. James Bennett (lead), Carroll, Alfred Davis (light com.), Josephs, Kimber, T. King 
 (heavy, from the Victoria), Lloyd, Murray, Vaudrey, H. Vivash, Henry Webb (low 
 com.), Wilkins (old men), Wyndham, Miss and Miss H. Coveney, Mrs W. H. 
 Eburne, Mrs Josephs, Miss Nicol, Miss Parker, Miss Vivash, Miss and Miss J. 
 Weems. 
 
 1849-50. Carroll, Channing (utility and scene painter). Cooper (old men), Danvers, Eburne, 
 Josephs, Kimber, T. King, Murray, T. Powrie, F. A. Robinson (walking gent), 
 Vaudray, H. Vivash, H. Webb, G. Webster (heavy and Scotch), Wyndham, Miss 
 Cleaver, Miss Frankland (lead, B'ham), Mrs Josephs, Miss Nicol, Miss Parker, Mrs 
 Turnbull, Miss A. Vining (walking lady). Miss Vivash. 
 
 1850-X. W. Cooper, Channing, Carroll, Halford, Josephs, Kimber, Lyons, Lacy, Murray, 
 Powrie, F. A. Robinson, Romer, Horatio Saker, Herman Vezin, Wyndham, H, 
 Webb, G. Webster, R. Younge, Miss J. Bassano, Miss Cleaver, Miss Frankland, 
 Mrs Josephs, Miss Nicol, Miss Parker, Mrs Rough, Mrs Saker, Miss Weems, Miss 
 E. Weems, Miss Kate Kerby. 
 
 No. III. 
 List of Theatre Orchestras from 18 10 to 1855. 
 
 1810-11 to 181314. W. Penson, leader; twelve musicians. 
 
 1814-15. W. Penson, leader ; James Dewar,* first violin. 
 
 1815-16. W. Penson, leader; Haggart, first violin ; James Dewar, principal second violin. 
 
 1816-17. James Dewar, leader ; Haggart, principal second violin ; Henderson, flute ; Eraser, 
 
 oboe ; twelve musicians. 
 1817-18. James Dewar, leader; W. Napier junr., first violin; Haggart and J. Simpson, 
 
 second violins ; Simpson, violoncello ; John Dewar, tenor and clarionet ; T. Fraser, 
 
 oboe ; Henderson, flute ; M. and A. Napier, horns ; Hunter, contra-basso ; Piatt, 
 
 bassoon. 
 
 * He appears to have been in the Orchestra during the season i8il-i2. 
 
Appendix. 501 
 
 1818-19. Same. 
 
 1819-20. Same, except Cameron instead of Haggart, second violin; Macleod instead of 
 
 John Dewar, tenor and clarionet ; and J. instead of A. Napier, second horn. 
 1820-1. Same, except bassoon is wanting, and J. Napier, junr., takes trumpet. 
 182 1-2. Same, except bassoon is added, Piatt playing it; Macleod only plays tenor; 
 
 Spindler, clarionet. 
 1824-5. James Dewar, leader; Muller, first violin; Stewart and Miller, second violins; 
 
 Cameron, viola ; Simpson, violoncello ; Spindler, clarionet; Piatt, flute; Henderson, 
 
 oboe ; Keyser and R. Napier, horns ; W. Napier, trumpet ; Hunter, double bass ; 
 
 M'Donald, bassoon. 
 1825-6. Same, except that Haggart is mentioned as leader along with Dewar; Master 
 
 Spindler is added to the second violins. 
 1826-7. R. B. Stewart and Pindar (from Bath), leaders ; remainder same. 
 1827-8. Pindar, leader ; Wilkinson, deputy leader ; Miller, first violin and keeper of music ; 
 
 Davis and Master Spindler, second violins ; Cameron, viola ; Hancox, violoncello ; 
 
 Spindler, clarionet ; Piatt, flute ; Kielbach, oboe ; Messrs Keyzer, horns ; Napier, 
 
 trumpet ; Hunter, double bass ; M'Donald, bassoon. 
 1828-9. Same, with the exception of Miller, whose place was not refilled. 
 1829-30. Same. 
 1830-1. James Dewar, leader; Wilkinson, deputy leader; Murray, first violin; Menzies, 
 
 Wells, and Davis, second violins ; Cameron and Miller, violas ; Hancox and L. 
 
 Shepherd, violoncellos ; Henry and Simpson, double basses ; Piatt, flute ; E. 
 
 Shepherd and Kielbach, clarionets; M'Donald, oboe; Day and Anderson, bassoons; 
 
 Keyzer and Webb, horns ; Napier, trumpet ; and Hughes, trombone. 
 183 1-2. The second violoncello and double bass, the oboe, and one second violin are absent ; 
 
 and M'Donald now takes first bassoon ; Day, second bassoon ; others same as 
 
 previous season ; total, eighteen. 
 1832-3. James Dewar, leader; Wilkinson, deputy; Murray, first violin; Menzies and Davis, 
 
 second violins ; Cameron and Miller, violas ; Henry, double bass ; Piatt, flute ; 
 
 Shepherd and Kielbach, clarionets ; M'Donald, bassoon ; Keyzer and Percival, 
 
 horns ; Napier, trumpet. 
 1833-4. A. M'Kenzie now takes the second viola; Rudolph, the second horn; and Hughes, 
 
 trombone, is added ; others same as previous season. 
 1834-5. Wilkinson,* leader ; Murray, deputy leader ; Wells, first violin ; Menzies and Davis, 
 
 second violins ; Cameron, viola ; Cooke, violoncello ; Henry, double bass ; Piatt, 
 
 flute ; M'Leod and Kielbach, clarionets ; M'Donald, bassoon ; Kieser and Fraser, 
 
 horns ; Napier, trumpet. 
 1835-6. Strings same, except Mackenzie, first violin, in place of Wells; Boase, first clarionet; 
 
 M'Leod, second clarionet ; Mancor. bassoon ; Hoffman, second horn ; remainder 
 
 the same. 
 1836-7. Same. 
 
 1837-8. Musgrave,t leader; others same as previous season. 
 1838-9. Musgrave, leader; there is only one first violin, played by Mackenzie; Farmer, 
 
 first clarionet, instead of Boase ; remainder the same. 
 1839-40. Musgrave, leader (only till January 25th, when James Dewar returned); Chapman 
 
 added as another first violin ; Davis, senr., took double bass in place of Henry ; 
 
 remainder the same. 
 1 840- 1. James Dewar, leader; remainder the same. 
 1841-2. Farmer now takes oboe instead of clarionet ; Hanson, clarionet; second clarionet 
 
 is not engaged ; remainder the same. 
 
 • Wilkinson was an Irishman by birth, and evidently a clever musician. He played the piano in addition 
 to the violin. 
 
 t Musgrave seems to have been a good musician, but not very steady. His wife was a miniature painter 
 
502 Appendix. 
 
 1842-3. Pein joined as oboe ; remainder the same. 
 
 1843-4. James Dewar, leader; Mackenzie and Chapman, first violins ; Menzies and Davis, 
 
 junr., second violins; Cameron, viola; Cooke, violoncello ; Davis, basso; Piatt, 
 
 flute; Farmer, clarionet; Pein, oboe; Mancar, bassoon; Kieser and Hoffman, 
 
 horns ; Miller, trumpet. 
 1844-5. Wind and brass same; R. B. Stewart, deputy; and the third first violin away; 
 
 Menzies not engaged ; Davis, junr., and Moore being second violins; and drums 
 
 are added, played by Jackson, junr. This was James Dewar's last season at the 
 
 Royal. 
 1845-6. Alex. Mackenzie, leader; R. B. Stewart, deputy ; Menzies, first violin ; Moore and 
 
 M'Donald, second violins ; Cameron, viola ; Cooke, violoncello ; Davis, double 
 
 bass ; Piatt, flute ; Farmer, clarionet ; Pein, oboe ; Mancar, bassoon ; Kieser and 
 
 Hoffman, horns ; Miller, trumpet ; Jackson, drums. 
 1846-7. May and Howard,* junr., take the second violins; H. L. Spindler, double bass ; 
 
 and the drums are not used; remainder the same; Spindler also acted in the 
 
 capacity of chorus master. 
 1847-8. The two horns and the trumpet are absent, and two cornets, played by Miller and 
 
 Hoffman, substituted ; Howard takes first violin instead of Menzies, who takes 
 
 second violin, assisted by Shaw ; remainder the same. 
 1848-9. Howard not re-engaged; remainder the same. 
 1849-50. Same, with the addition of a trombone. 
 1850-1. Same. 
 185 1-2. Alex. Mackenzie, leader; Jewson and VV. Howard, first violins; Menzies and Frank 
 
 Mackenzie (brother of Alex. Mackenzie), second violins ; Hanson and Cameron, 
 
 violas ; Cooke, violoncello ; J. and A. Wallace, double basses ; Piatt, flute ; James 
 
 Owen, clarionet ; Pein, oboe ; Mancar, bassoon ; Wilson and J. Hamilton, horns ; 
 
 Harper and Hoffman, cornets ; M'Fadden, trombone ; G. B. Loveday,! drums. 
 1852-3. Alex. Mackenzie, leader; W. Howard, first violin; F. Mackenzie and Lawrence, 
 
 second violins ; Cameron and Smally, violas ; remainder the same, except Menzies, 
 
 who does not appear. 
 1853. Summer season under Wyndham, R. B. Stewart, leader. 
 1853-4. Alex. Mackenzie, leader. 
 1854-5. Alex. Mackenzie, leader; G. Loveday, librarian; sixteen in alL 
 
 * William Howard, son of the actor, afterwards took the Waterloo Rooms, and gave Saturday Evening 
 Concerts in Edinburgh. 
 
 + Afterwards well known as Toole's Business Manager. 
 
INDEX. 
 
INDEX. 
 
 Abbot of Bon-Accord, 
 
 „ of Unreason, . 
 
 „ Functions, 
 
 „ Fees to 
 
 „ Romish Church, 
 
 „ Act against, 
 Abbotsford, 
 Aberdeen, Windmill Hill, 
 
 „ Town Council, 
 
 „ Players in 1601, 
 
 „ Edinburgh Company 
 of Players at, 
 Abington, Mrs, . 
 Actors, English (1593), 
 
 (1599), 
 „ Payments to, by 
 James VI., 2: 
 
 „ Emoluments, 1726, . 
 „ Persecution of, 
 Acts of Parliament, 10 
 Geo. II., cap. 28, 
 „ Proposed Playhouse 
 Bill, 1739, • • 
 „ Evasion of. 
 Addresses — by Woods, 
 ,, by Scott, for Miss 
 
 Smith, 
 „ by Murray, 270, 271, 355, 
 356, 363, 368, 379, 382, 
 384,393.396, 398,413, 
 415,416,417,420. 
 „ by Lloyd, . . 428 
 
 „ by Wyndham,434, 440, 466 
 „ by Craven, . . 439 
 „ by Leslie. . . 443 
 „ by T. P. Cooke, . 445 
 „ by W. H. Logan, . 478 
 Adelphi Theatre, 349, 434, 449 
 „ Burned, . . .453 
 Aickin, Co-Lessee of T. R., 241 
 „ James, . . . 104 
 Albany, Duke of, . . 17 
 Alexander, 296. 342, 344, 345 
 „ William (Earl of Stir- 
 ling), . . 25 
 
 rAGE 
 
 6 
 
 4 
 5 
 5 
 6 
 
 7 
 
 315 
 
 6 
 
 6 
 
 24 
 
 45 
 
 171 
 
 20 
 
 21 
 
 2,23 
 36 
 51 
 
 49 
 
 53 
 
 53 
 
 243 
 
 251 
 
 Amusements prior to Re- 
 formation, . . . 5 
 Anderson, . . . 297 
 Antiquary, . . . 296 
 Appeal, The, . . .282 
 Arnot, Inaccuracy of, . 34 
 „ on Canongate Theatre, 59 
 Arrah-tm-Pogiie, . . 478 
 
 Astley, 
 
 Aston, Tony, . 
 „ Career, 
 „ Walter, . 
 
 As YoH Like It, 
 
 Auchindrane, . 
 
 35, 
 
 164 
 
 37-9 
 40 
 40 
 
 325, 409, 489 
 348 
 
 Audience at Performance 
 
 of Three Estates, . 9 
 „ on the Stage, . . 75 
 „ Regulations for, . 76 
 „ Analysis of, . .123 
 „ State of, in 1773 . 161 
 „ in 1826, . . .317-18 
 
 Baddeley, Mrs, first ap- 
 pearance in Edin- 
 burgh, . .184 
 „ Benefit, . . .192 
 „ Death of, . . .194 
 Bain, Rev. James, . .155 
 Baker, Mrs, . 134, 145, 171 
 „ Death of, . .172 
 
 „ Wilkinson on, . . 172 
 Ballantyne, James, . 446, 465 
 Bannister, John, junr., 231,258 
 Barclay, Mrs, ... 79 
 Barrett, Wilson, . . 484 
 Barry, Mr and Mrs, . . 168 
 Bass, Mrs C, . . . 343 
 
 „ C 343, 345 
 
 Battle of Bothwell Brig, 307, 323 
 Beat, David, . 54, 100, 107 
 Beggars' Opera— zt Had- 
 dington . . 42 
 „ at Edinburgh, 1733,. 43 
 „ Canongate, . . 66 
 
 Bellamy, Mrs, Announce- 
 ment of, . 
 „ Arrives in Edinburgh, 
 „ First Appearance in 
 
 Edinburgh, 
 „ and Jackson, . 
 „ goes to Glasgow, 
 „ in Difficulties, . 
 „ with Digges at Ben- 
 nington, . 
 „ as Lady Randolph, . 
 „ and Tate Wilkinson, 
 „ Last Appearance in 
 
 Edinburgh, 
 „ Mr {see Digges). 
 Beryl, Cecil, 
 
 Betterton, First Appear- 
 ance, .... 
 Betty, Master, . 
 Biggs, Miss, . 
 Billington, Mrs, 
 Birrel's Diary, . 
 Black- Eyed Susan, 
 Blackfriars' Wynd, Fletcher 
 and Company at, . 
 „ Expense of Building 
 
 Theatre, . . 22 
 Black, James, . . 470, 472 
 Bland, John, Co-Lessee of 
 
 T. R., 159, 170, 173, 174 
 Bold Stroke foraHusband, 186 
 Booth, .... 283 
 
 114 
 115 
 
 116 
 117 
 118 
 119 
 
 121 
 122 
 129 
 
 131 
 482 
 
 195 
 
 248, 268 
 
 . 24a 
 
 . 220 
 
 • '9 
 331, 345 
 
 21 
 
 Bough, Sam., 
 Bowden, . 
 Box and Cox, 
 Braham, 
 
 451,475 
 
 215, 220 
 
 . 400 
 
 264, 327 
 
 Bride of Lajiimermoor, 297, 339 
 Bridgman, F., 403, 408, 413 
 Brooke, G. V., 358, 406, 416 
 Brown of Chester, . . 95 
 Brunton, Miss, . . . 283 
 Buckstone, . . . 375 
 Bulkley, Mrs, as Hamlet, 192 
 Burnand, F. C, . . 473 
 
 Burns, R., 
 
 269, 341 
 
5o6 
 
 Index. 
 
 Bushe, Mrs {see Miss Noel). 
 Jiyfeld, Miss, . . .348 
 
 Calcraft, . . . 290, 297 
 Caledonia, . . . 267 
 Caledonian Theatre, . 340 
 
 Caledonian Mercury, . 26 
 CallendarasManager,8 1,104, 107 
 Candidas, . . . 241 
 
 CanongateTheatre,founda- 
 tion-stone laid and 
 opening, . . 59 
 
 „ Title-deeds of, . . 60 
 „ CuUoden Riot,. . 64 
 „ Purchased, . . 67 
 Carey, George Saville, 184, 195 
 Carlyle, Dr, on the Players, 59 
 Carrubter's Close, Ram- 
 say's Theatre, . 47, 49 
 Castle Spectre, . . .233 
 Catalani, .... 254 
 Cately, Miss, . . .168 
 Catherine and Petrucliio, . 407 
 Cato, performance of, at 
 
 Haddington, . 42 
 
 „ at Taylors' Hall, . 53 
 
 Cawse, Miss, . . . 359 
 
 Chalmers, . . . 247 
 
 Charges for Admission to 
 
 the Theatre, 46, 47, 56, 65, 
 
 67, 166, 254, 267,271,333, 
 
 334. 340, 344, 346, 362, 365. 
 
 368,378,386,399,401,403, 
 
 407,412,435,445,459,460, 
 
 478. 
 
 Charles Edward, . . 323 
 
 Charles XII., . 325-6 
 
 Charteris, Henry, . . 9 
 
 Chester, John, . . . 474 
 
 Chippendale, Jun., . 269, 340 
 
 Chippendale, Sen., . 269, 290 
 
 Circus, Leith Walk, . 219, 332 
 
 Cleaver, Miss. . . . 437 
 
 Colleen Bawn, . . . 475 
 
 Comedians, English, at 
 
 Holy rood, . 20 
 
 „ in 1599, ... 21 
 „ payments to, by 
 
 James VI., 22, 23, 24 
 
 Comus, .... 356 
 
 Cooke, G. F., . . . 242 
 
 „ Sir W. Scott on, . 242 
 
 ,, T. P., . . 319,445 
 
 Corn, . . . .174 
 
 „ Rents Theatre, . 175 
 
 „ H. and P., . . 3S0 
 
 „ Natali, 334-3, 338, 341 
 
 Corri's Room {see Circus). 
 
 Corry, First Appearance, . 68 
 
 Corsican Brothers, . 433, 436 
 
 Country Girl, . 
 
 , 
 
 198 
 
 Cowell, Sam., . 
 
 
 zn 
 
 Coveney, . 
 
 
 359 
 
 „ Miss, 
 
 ■ 359, 
 
 400 
 
 „ Miss H., . 
 
 • 360, 
 
 400 
 
 Cramond Brig, 
 
 • 316, 
 
 432 
 
 Craven, H. J., 431, 439, 441 
 Crawford, Mrs, . . -194-5 
 Cricket on the Hearth, . 395 
 Crito on Stephen Kenible, 237 
 Crouch, Mrs, . . . 227 
 Culloden Riot, ... 64 
 
 Dalkeith, Drama at (1731), 43 
 Daly, W., . . 480, 489 
 
 Davies, . . .63, 67, 68 
 Death of Virginia, . .345 
 De Begnis . . . 322 
 D'EgviUe, . . .334 
 
 Denham, . . . .350 
 Der Freischiitz, . 310, 347 
 Der Fryshot, . . .312 
 Dewar, James, . . 350, 376 
 Dibdin, Charles, "History 
 
 of the Stage," . 162 
 „ Waterman, Account 
 
 of, &c., . .168 
 „ Firstto play on Piano- 
 forte, . . 209 
 „ in Edinburgh, . . 235 
 „ Second Visit, . . 239 
 „ at the T. R., . . 246 
 „ H. E., . 358, 367, 402 
 „ Tom, 294, 299, 322, 339, 
 369, 407, 412. 
 Digges in Edinburgh, . 80 
 „ Account of and Ap- 
 pearance, . . 81 
 „ Career, ... 82 
 „ First Appearance in 
 
 Edinburgh, . 82 
 „ First mention of Name, 83 
 „ Othello, First Time, 94 
 „ as Wolsey, . . 95 
 „ Dispute with Orchestra, 97 
 „ Correspondence with 
 
 Mrs Ward, . 99 
 „ Connection with Mrs 
 
 Ward, . .100 
 „ Lee Lewes on, . . 10 1 
 „ Discharged by Beat, 104 
 „ in Edinburgh, 1759, . 108 
 „ Crilicismonhis Ham- 
 let, . . .110 
 „ and Jackson, . . 113 
 „ and Mrs Bellamy, . 114 
 „ Appears as Mr Bel- 
 lamy, . .120 
 „ Legacy left to, . . 121 
 „ at Bonnington, . 121 
 
 I'AGE 
 
 Digges, O'Keeffe on, . 122 
 „ as Falstafif, . .124 
 „ Escapes, . . .129 
 „ Leases T. R., . . 157 
 „ Shylock, First Time, 159 
 „ in Difficulties, . -159 
 „ Topham on, . .165 
 „ in Prison, . .169 
 
 „ Letter to Wilkinson, 170 
 „ Last Appearance in 
 „ Edinburgh, . 178 
 
 „ KirkpatrickSharpeon, 179 
 
 Don Giovanni, . . 348, 350 
 
 Douglas, Production of, . 85 
 „ Account of, . . 87 
 „ Anecdote of, . . 87 
 „ Plot of, . . . 88 
 „ Garrick's Opinion of, 88 
 „ Rehearsals of, . . 89 
 ,, Criticism of, . . 89 
 „ Run of, . . .91 
 „ Cast of, . . . 92 
 
 Drama, Payments for, . 8 
 „ „ &c., . 9 
 
 „ in 1558, II 
 „ Prohibited on Sab- 
 bath, . . 12 
 „ Royal Patronage of, 14 
 „ 1364 ... 15 
 „ Linlithgow in 1488, . 15 
 „ First Performance of 
 
 in Edinburgh, . 16 
 „ in Honour of Duke 
 
 Albany, . 17 
 
 „ Fate of Early Writers of, 19 
 „ Payments for (1579), 20 
 
 „ (1593), 20 
 
 ., under Duke of York, 28 
 „ Decay of, in Edin- 
 burgh, under 
 William III. and 
 Anne, . . 33 
 „ Early Newspaper No- 
 tices of, . . 34 
 „ under Patronage of 
 
 Magistrates, 1726, 35 
 
 „ Freemasons and the, 45,46 
 
 Drumclog, . . . 4S0 
 
 Drummer, by Addison, . 94 
 
 Drummond, Description of 
 
 James 1. Court, 14, 15 
 
 „ the Printer, . . 60 
 
 „ a.nA Gentle Shepherd, 61 
 
 „ Benefit for, . . 65 
 
 Ducrow, .... 350 
 
 Duff, .... 295 
 
 Dunbar, William, ... 15 
 
 Duncan, Mrs, . . . 191 
 
 Dundee, . . -15, 346 
 
 Dwyer, .... 245 
 
Index. 
 
 507 
 
 Ebsworth, 
 Eburne, 
 
 PAGE 
 
 • 343 
 380, 438, 487 
 
 Edinburgh Town Council, 
 „ its Protestant Leaning, 10 
 „ Paymentsfor on Mar- 
 riage of Queen 
 Mary, 1558, . II 
 „ and reception of 
 
 James VI., . 19 
 
 „ Company of Players, 43 
 
 ,. „ on Circuit, . 45 
 
 „ Dramatic Review, 302-3-4 
 
 „ Musicians in, 8, 11, 30S 
 
 „ Rosciad, . . .167 
 
 „ Theatre, . . .489 
 
 „ Theatrical Fund, 290, 295, 
 
 320, 329 
 
 Edmunds, E., 347, 355, 359 
 
 Edmunds, Mrs, . 359-6o 
 
 Elliston,first appearance,234,328 
 
 Foote, Extract from Cooke's 
 
 Memoirs, . . 106 
 „ Pieces produced by, 107 
 „ in Edinburgh with 
 
 Company,. . 153 
 „ Lease of Theatre 
 
 Royal to Digges, 157 
 „ Last Appearance in 
 
 Edinburgh, . 163 
 „ Miss, . . .312 
 Foulis, Sir J., Bart., Note- 
 book of, . . . 27 
 Foundling of the Forest, . 260 
 Fountainhall, Lord, and 
 
 Drama in Edinburgh, 28 29 
 Freemasons and the 
 
 Drama, 45, 46, 372, 412, 465 
 French Actors, . 15,323,324 
 Friend of the Fainity, . 262 
 
 Emmet, J. K. 
 
 England, Secular Plays 
 
 prohibited, 
 English, John, Comedian, 
 
 „ Career of. 
 Epilogues, Mrs S. Kemble, 
 Essex, Earl of, first pro- 
 duction in Edinburgh, 
 „ first legally performed 
 Play, . . 
 
 Este, Mrs, 
 Esten, Mrs, 
 Este, Thomas, . 
 „ Death of, . 
 „ William, . 
 ,, Abilities as Manager, 
 Evans, Mrs, 
 
 Evatt, first appearance, . 
 Everard, Mr, . 
 Exchequer Rolls, 
 
 Eyre, 
 
 9 
 16 
 
 17 
 197 
 
 105 
 
 >47 
 
 • 55 
 209, 212, 218 
 
 • 53 
 
 • 55 
 53 
 54 
 
 327 
 
 225 
 
 . 191 
 
 • 15 
 
 248, 274 
 
 Fairbrother, Miss, . 329, 344 
 
 Fair Maid of Perth,. . 345 
 
 Family Legend, . .261 
 
 Faucit, Miss H., 389, 393, 398, 
 
 407, 447, 480- 
 Fennell, . . 198, 201, 202 
 Fisher, George, . . 484 
 Fletcher, Lawrence, and 
 
 James VI., . 21 
 „ and Martin's Com- 
 pany at Holy- 
 rood, 1599, . 21 
 „ „ 1601, . 24 
 
 „ Freedomof Aberdeen 
 
 City conferred on, 24 
 Fletcher, Licence granted 
 
 to (1603), . . 25 
 Foote in Edinburgh, . 10? 
 
 Gaberlunzie Man, . . 465 
 Gas in T. R., . . . 284 
 Gentle Shepherd, . . 61 
 ,, long run of, . . 96 
 George IV.^ . . . 300 
 George Heriot, . . . 305 
 Gilder oy, . . . 319, 340 
 Glasgow, Entertainments in, 118 
 „ Description of, by 
 
 Mrs Bellamy, . 1 19 
 
 „ Burning of Theatre, 119 
 
 ,, Wilkinson in, . -134 
 
 ,, New Theatre in, . 182 
 
 Gloamin' and the Mirk, . 483 
 
 Glover, Edmund, 380, 401, 403 
 
 Glyn, Miss, . . . 416 
 
 Gomersal, . . 463, 472 
 
 Gough, Miss, . . . 229 
 
 Gourlay, W., 367, 370, 435, 452, 
 
 481,487. 
 Grant, First Appearance, . 228 
 Greenside, Gift of, to Edin- 
 burgh, . . 7 
 „ given to Carmelite 
 
 Friars, . . 8 
 
 „ in 1588, ... 13 
 
 Griffith, .... 74 
 
 Grimaldi, . . . .281 
 
 Guisards and May Day 
 
 Festivities, . . 4 
 
 Guy Mannering, 275, 298, 384, 
 400, 402, 410, 432, 471, 474, 
 479- 
 
 PACE 
 
 Hamerton, . . . 285 
 Hamilton, Mrs Bland, . 136 
 Harris, .... 408 
 Hartley, Mrs, first appear- 
 ance, . . . .157 
 
 Hatton, W 482 
 
 Hunchback, . . .354 
 Haymarket Company in 
 
 Edinburgh, 153,455.479 
 Heart of Midlothian, 294, 339, 
 
 381,432,436,445,473. 
 Heir-at-Law, . . . 233 
 Heiress of Strathearn, . 267 
 Henderson, first appear- 
 ance in Edinburgh, . 190 
 Henry VI H., . ... 460 
 Heriot's Gardens, . . 66 
 Herminius and Espasia, . 74 
 Highland Widow, . 369, 43 1 
 High Life below Stairs, 
 
 riot, . . . 96, no 
 Hill, Benson, . 313, 314, 317 
 Home, Author of Douglas 
 — Treatment of, 
 by Clergy, . 86 
 
 „ Early Dramatic Works, 87 
 „ Verses by, . . 88 
 „ ^gih ... 96 
 „ Opinion of Jackson 
 
 as Douglas, . 113 
 Honeymoon, . 248, 350, 463 
 Hooper, .... 327 
 Horton, Miss P., 370, 446, 448 
 House of Aspen, The, .328-9 
 Howard, J. B., 478. 479, 480, 
 481,482,483,488. 
 „ Mrs J. B., . 480, 481 
 
 Incledon, . . . 225, 274 
 Irving, David, History of 
 
 Scottish Poetry, 5 
 „ on Court of James I., 14 
 „ on " Three Estates," i8 
 „ Henry, 463, 464, 465, 466, 
 
 Haddington, Cato at, . 42 
 
 „ Beggars' Opera at, . 42 
 
 „ fane Shore at, . 43 
 
 Hailes (Lord), Opinion of 
 
 Lord of Misrule, . 5 
 
 Halie Bltule, The, . . 6 
 
 472,473,474,481. 
 Iliff, first appearance, . 195 
 Italian Opera, . . .125 
 Ivanhoe, .... 307 
 
 Jackson, John, first ap- 
 pearance in 
 Edinburgh and 
 account of, . 112 
 „ as Young Nor val, . 113 
 „ and Mrs Bellamy, . 117 
 „ and Proprietors of 
 
 Theatre, . .138 
 „ Purchases T. R., . 181 
 „ EngagesMrsSiddons, 187 
 „ on Fennell, . . 201 
 
5o8 
 
 Index. 
 
 Jackson, and New Patent, 206 
 „ takes out Sequestra- 
 tion, . . 212 
 „ Dispute with S. 
 
 Kemble, . .213 
 „ Statement of Affairs, 214 
 „ and Aickin take T.R., 241 
 James I., Court of, . . 14 
 „ II. and Greenside, . 7 
 „ Patronage of Drama, 1 4 
 „ IV., Court of, . . 15 
 „ Marriage of, . . 16 
 „ v.. Marriage Pageants, 17 
 „ VI., Reception in 1579, 19 
 „ Marriage of, . . 20 
 „ and Fletcher, . . 21 
 „ Causes Kirk to with- 
 draw Act de- 
 nouncing Plays, 22 
 „ Payments to Co- 
 medians, . . 22 
 „ Payments for Procla- 
 mations at Cross 
 about Plays, . 23 
 „ Further Payment by 
 
 James VI., . 23 
 Jefferson, J., . . .481 
 Jewell, Mrs, first appearance, 156 
 Johnston, Dr, in Edinburgh, 163 
 Johnstone, W. J., . . 263 
 Johnston, Henry, 226, 336, 340 
 Jolly Beggars, . . -341 
 Jones (and Parker), . . 332 
 Jordan, Mrs, . .198, 263 
 
 Kean, Charles, 323, 387, 412 
 „ E., 274, 279, 282, 327, 353 
 
 Kelly, Miss Fanny, . . 291 
 „ William, . . . 226 
 
 Kemble, C, . . 317, 33' 
 „ John, first appearance 
 
 in Edinburgh, . 180 
 „ and Sir W. Scott, . 243 
 ,, Last Appearances, . 277 
 „ Criticism on, . . 278 
 „ Miss, . . .194 
 „ Miss (Daugter of 
 
 S. K.), . . 229 
 ,, Miss Fanny, . . 331 
 „ Mrs Stephen, First 
 
 Appearance, . 195 
 „ Stephen, First Ap- 
 pearance, . -195 
 „ Dispute with Jackson, 213 
 „ Takes T. R., . .215 
 „ Opens New T. R., . 219 
 „ Retakes T. R., . 223 
 
 „ Final Speech, . . 240 
 
 „ Reappearance, 250, 261 
 
 Kenilworth, 299, 339, 343, 480 
 
 Kennedy, Mrs, . . 68, 77 
 King, First Appearance, . 208 
 Kirk, the Four Sessions 
 
 denounce Plays, 21 
 „ Act Withdrawn, . 22 
 „ Reply to Jarnes VI., 22 
 „ Session on Douglas, 86 
 Knight, Thomas, First Ap- 
 pearance, . . . 234 
 Knox, John, and Robin 
 
 Hood, . . .11 
 
 Lacy, Walter, . . -355 
 Lady of Lyons, . 373, 389, 455 
 Laily of the Lake, 264, 265, 412, 
 
 480. 
 Lampe, in Orchestra, 67, 68 
 „ Dragon of Wantley, 120 
 Lancashire, Comedian, Ac- 
 count of, . . . 78 
 Latimer, Bishop, and 
 
 Robin Hood, . . 7 
 Lauder,James,at St Giles', 9 
 „ William, . . • 9, 1 1 
 Lauriston Gardens, . . 66 
 Lawyers and their Clients, 269 
 Lee, John, Appears in 
 
 Edinburgh, . 70 
 ,, as Manager, . . 70 
 „ Reasons for Leaving 
 
 London, . . 71 
 „ Career, . . .71 
 „ Management in Edin- 
 burgh, . . 72 
 „ Romeo and fuliet by, 73 
 ,, Much Ado by, . . 74 
 „ in Difficulties, . . 75 
 ,, Dispute with Pro- 
 prietors, . . 79 
 „ Result of, . . 80 
 
 „ goes to Dublin, . 80 
 „ in Edinburgh, 1760-1, in 
 Legend of Montrose, . 297 
 
 Leslie, . . . 442, 448-9 
 Lewes, G. H., . . . 410 
 „ Lee, .... 200 
 „ Account of Dispute 
 between Jackson 
 and S. Kemble, 213 
 „ Mrs Lee, First Ap- 
 pearance, - 216 
 Lighting of the Theatre, 54, 1 58, 
 
 284. 
 Lindsay, Sir David, of the 
 Mount, his Three 
 EstateszX Green- 
 side, . . 9, 17, 18 
 „ Burning of his book, 19 
 Liston, . . . 279, 331 
 Liverpool, Mrs Ward in, 99, lol 
 
 Lloyd, 345-6, 355, 372, 375, 403- 
 4-5,428-9,440,471. 
 „ Management, 430,441-2 
 Logan, W., Author of 
 
 " Fragmenta Scoto 
 
 Dramatica " (note), 34, 474, 
 
 478. 
 Lord of Misrule, . . 5 
 Loveday, H. J., . . 479 
 
 Lyceum, Royal, . .482, 3 
 
 Lyon, William, Author of 
 
 Wrangling Lovers, . 56 
 
 Macbeth in 1601, . . 24 
 „ 1672, . . 27 
 
 1715, • ■ 34 
 ,, . 1732. • • 43 
 „ with Scots Costumes, 95 
 „ Lady, in White Satin, 120 
 „ Henderson's Dress for, 191 
 „ Mention of, . 435, 461 
 „ Laws, ... 4 
 Macdonald, Dramatic 
 
 Author, . . . 208 
 
 Mackay,285,289, 292,320-1, 379, 
 
 401,403,416,417,436, 
 
 450, 451- 
 „ Hector, . . .459 
 Mackenzie, A., 394, 401, 402, 
 407, 430, 449, 464. 
 „ Henry, . . .161 
 Macready, . 314, 328, 396 
 Manns, August, . . 461 
 Manteaux Noirs, . . 487 
 Marciatio, Tragi-Comedy of, 26 
 Marionville, Theatre at, . 208 
 Marriage of Figaro, . 196 
 
 Martyn, .... 352 
 Mary, Queen, reception' of, 
 
 in 1 561, . . .12 
 
 Mary Stuart, . . .►312 
 
 Masaniello, . 330, 345, 397 
 
 Mason, .... 268 
 
 „ Charles Kemble, . 397 
 
 Mathews, C, junr., 315, 387, 474 
 
 „ Mrs C, junr., . . 474 
 
 „ C, senr., 266, 267, 281, 
 
 292,295,315,329,339 
 
 Mayday Festivities and 
 
 Robin Hood, . 4, 5 
 
 Mazeppa, . . . .351 
 
 M'NeiU, A. D., 482, 483, 484, 
 
 485, 487, 489- 
 
 „ W. A., . . .487 
 
 „ Mrs A. D.. . 484, 488 
 
 Mead, T., . . .471 
 
 Midsummer Night's Dream, 46 1 
 
 Minor, Foote, Play of the, 155 
 
 „ Theatre, Petition for, 335, 
 
 336. 
 
 J 
 
PAGE 
 
 Minstrels of the Chekkar, 15 
 Moralities and Miracle 
 Plays : Method 
 of Performing, . 6 
 „ in 1661, ... 10 
 Morning Performance, 
 
 First in Scotland, . 106 
 Morris, Miss, . . .185 
 Moss, .... 280 
 Mozeen, Mrs, Dispute with 
 
 Mrs M'George, . .133 
 
 Murray, Leigh, . . 378 
 
 „ Mrs Leigh, . 381, 394 
 
 „ W. H., 260, 270, 271, 280, 
 
 302,303,304,313,327, 
 
 352>355>356, 357, 361, 
 
 ■ 363,369,375,386,388, 
 
 395,402,408,409,417, 
 
 419,420,433- , 
 „ as an author, . 3f9, 376 
 „ and Planch^, . . 325 
 „ becomes Lessee and 
 
 Manager, . 349 
 
 „ Account of, . 422-3-4 
 
 „ and James Black, . 470 
 
 Musicians in Edinburgh, 8, II, 
 
 13, 15,341. 
 Mynitt, Mrs, Account of, . 95 
 Mysteries, or Miracle Plays, 3 
 
 Nell Gwynne, . . .357 
 
 New liosciati, . . .152 
 
 New Theatre Royal, 259, 263 
 
 Nicholas Nickleby, . 374, 480 
 
 Nick of the Woods, . .381 
 
 Nicol, Mrs, 250, 356, 357, 358-9 
 
 Nicol, Miss, . . 361, 476 
 
 No 319 
 
 Nodes Ainbrosiance. 310, 319, 
 
 328, 331, 347 
 
 Noel, Miss, . . 310, 374 
 
 Novello, Miss, . . 362, 367 
 
 „ Miss Clara, . . 370 
 
 O'Neill, Miss, . . 272, 274 
 Oliver Twist, . . . 376 
 Orchestra, Introduction of 
 
 Harpsichord, . 66 
 „ Dispute with Digges, 97 
 „ Payments to, . . 98 
 Octoroon, . . . .475 
 Ours, . . . .479 
 Our Boys, . . .485 
 
 OM Love and the New, . 486 
 
 Paget, A.,. . . .474 
 Palmer, John, First Ap- 
 pearance, . . . 223 
 Pamela (1741), ... 53 
 Pantheon, . . . 336 
 
 Index. 
 
 PAGE 
 
 Parker (and Jones), . . 332 
 Pasquale, Signer, . . 73 
 „ " Enraged Musician," 
 
 by, . . . 73-4 
 Paterson, W., . . . 482 
 Paul Pry, . . .31314 
 Peveril of the Peak, . . 306 
 Phelps, . . . 436,453 
 Philotus, Comedy of, 18, 25 
 
 Pianoforte, First Mention 
 
 of, in Edinburgh, . 209 
 Pickwick, . . . ■ yi2 
 Pillans, R. S., . . 479, 480 
 Pinafore, .... 486 
 Pitik Dominoes, . . 486 
 Pirate, The, . . 308, 343 
 Plain, Timothy, 227, 229, 232, 
 
 238 
 Planchd, . . 324, 325, 354 
 Play before Regent Moray, 19 
 „ Advertised by Drum 
 
 and Trumpet, . 21 
 „ Denounced by the 
 
 Kirk, . . 21 
 
 Players, Edinburgh Com- 
 pany of, . . 43 
 „ Carlyle on, . . 59 
 Please Copy the Address, . 466 
 "Plows by Got" Disturb 
 
 ance, .... 224 
 Pope, First Appearance, . 198 
 Powell, Mrs, . . . 245 
 Power, . . . 351,388 
 Powrie, Tom, 408, 411, 435, 450 
 
 457, 473, 478. 
 Prince of Tunis, The, First 
 
 Production, . . 161 
 Princess' Theatre, . . 482 
 Pritchard, . . 305, 311 
 
 Programmes, Furnishing of, 
 
 to Audience, . 79 
 „ Mock, . . .147 
 Prologues by Allan Ram- 
 say, 35,41,42,48 
 „ by Robert Burns,. . 199 
 „ spoken by Mrs 
 
 Bellamy, . .116 
 
 Queen's Theatre and Opera 
 House under 
 Black, . . 470 
 „ under Wyndham, . 472 
 „ under Royal Letters 
 
 Patent, . .473 
 
 „ Burned, . . .477 
 
 Quentin Durward, . .341 
 
 Quick, . . . .238 
 
 Ramsay, Allan, Prologue 
 
 by, 1726, . . 35 
 
 509 
 
 I'AGE 
 
 36 
 
 36-7 
 
 41 
 
 42 
 
 47 
 48 
 
 49 
 49 
 134 
 II I 
 311,484 
 383. 450 
 . 397 
 . 281, 326 
 
 • 352 
 
 383, 448, 479 
 . 170 
 . 216 
 
 • 390 
 . 364, 365 
 
 (Scene 
 
 350 
 
 Ramsay and Aston, . 
 
 „ Defence of the Stage, 
 
 „ Prologue to the 
 Orphan, . 
 
 „ Prologue to Aurettge- 
 Zebe, . 
 
 „ Theatre in Carrub 
 ber's Close, 
 
 „ Opening Prologue, 
 
 „ Closing of Theatre, 
 
 „ Address, . 
 
 ,, Miller and Moon, 
 Reddish, Account of, 
 Redgatintlet, 
 Reeves, John, (Sims) 
 
 „ W. H., . . 
 Renaud, Mrs, . 
 Renegade, The, . 
 Rent Day, . 
 Richelieu, . 
 Ri7'als 
 
 Road to Ruin, . 
 Robert Burns, . 
 Robert Macaire, 
 Roberts, David 
 Painter), . 
 Robin Hood and May Day 
 
 Festivities, 4, 5,6, 7, 9, 11, 
 
 12, 13- 
 Robinson, Mrs Mary, . 198 
 Rob Roy, 286, 291, 300, 337, 341, 
 
 343,344,384,401,432, 
 
 435,446,450,460,465, 
 
 478, 484- 
 
 „ Scotsman on, . 
 
 Rosa, Carl, 
 
 Rose of Ettrick Vale, 
 
 Rosina, 
 
 Ross, David, 
 
 „ Method of raising 
 
 Capital to build 
 
 T. R., 
 
 „ Life of, . . 210-21 1 
 
 Royal Letters Patent, Ap 
 
 plication for, 
 
 „ Applicants for, 
 
 „ Meeting about, 
 
 „ first play under, 
 
 „ second, 
 
 „ Dispute about, 
 
 „ Infringement of, 
 
 „ Transferred to Queen's,473 
 
 Russell, J., ... 308 
 
 Ryder, Corbet, . 337, 341, 342 
 
 „ John, . . 375, 38s 
 
 Saker, Edward, . 477,481 
 Salaries, . . . 303, 382-3 
 " Sangsters " and " Sang 
 
 Scole," Payment to, . 13 
 
 288 
 486 
 
 3" 
 186 
 
 145 
 
 51 
 
 144 
 
 145 
 146 
 
 147 
 206 
 218 
 
 342 
 
5IO 
 
 Index. 
 
 Sans Sonet, 
 
 PAGE 
 
 235 
 
 Stewart, Nicholson, 161, 
 
 PAGE 
 183, 
 
 Scenery, Primitive, . 
 
 8 
 
 185, 186, 196. 
 
 
 „ of 'rempest, 
 
 93 
 
 Still Waters Run Deep, . 
 
 471 
 
 „ Prices of, 
 
 123 
 
 St Kilda in Edinburgh, . 
 
 233 
 
 „ Mention of, 357, 447 
 
 ,45** 
 
 Storer, Mrs, . . 66, 68 
 
 School for Sca?!c/cil, . 
 
 173 
 
 Strans^er, 
 
 234 
 
 School, High, Performance 
 
 
 Strang, J. W., . . . 
 
 432 
 
 by ]5oys of, 
 
 20 
 
 Strickland, Mrs, 
 
 201 
 
 Scolsmait, 276, 283, 284, 288 
 
 289, 
 
 St Rotian's Well, . 309 
 
 ,484 
 
 292, 295, 33', 479- 
 
 
 Sullivan, Barry, 381, 389-90, 
 
 Scott, Sir Walter, . 
 
 224 
 
 409, 463. 
 
 
 „ on G. F. Cooke, 
 
 242 
 
 Sydserf, Thomas, . 26, 2 
 
 8,29 
 
 „ Friendship to Actors, 
 
 242 
 
 
 
 „ Address for Miss 
 
 
 Talisman, 
 
 311 
 
 Smith, 
 
 251 
 
 Tannett (Scene Painter), 
 
 447, 
 
 „ Influence on Drama, 
 
 257 
 
 449. 45** 
 
 
 „ and John Kemble, . 
 
 277 
 
 Tarj/go's Wiles; or. The 
 
 
 „ Letter to Mackay, . 
 
 289 
 
 Coffee House, 
 
 26 
 
 „ and Charles Mathews 
 
 , 3'5 
 
 Ta)lors' Hall, Theatre 
 
 
 316. 
 
 
 at, 44, 46, 47, 53 
 
 „ and Waverley Novels 
 
 ,320 
 
 „ Final Records of, . 
 
 56 
 
 „ Opinion of Actors, . 
 
 321 
 
 „ in 1752, . 
 
 73 
 
 „ and Denham, . 
 
 350 
 
 „ Gentle Shepherd at, 
 
 83 
 
 „ Masque on. 
 
 356 
 
 Tempest, The, First Time 
 
 
 „ Mention of, 261, 262, 
 
 264, 
 
 in Edinburgh, . 
 
 44 
 
 287,299,318,328 
 
 352 
 
 „ Purcell's Music to, . 
 
 65 
 
 „ Monument Fund, . 
 
 379 
 
 „ Opera of, by Smith, 
 
 93 
 
 „ Centenary, 
 
 480 
 
 Templeton, 
 
 374 
 
 Semple, Robert, Play by, . 
 
 19 
 
 Tennis Court, . 
 
 34 
 
 Shakspere in Scotland, 24, 25 
 
 Terry, U., . . 260, 264 
 
 266 
 
 „ Plays in Edinburgh, 
 
 
 Theatre, First in Scotland, 
 
 47 
 
 First Record of, 
 
 27 
 
 „ Lighting of, . 55 
 
 158 
 
 Shau^hraun, . 
 
 480 
 
 „ State of in 1765-6 . 
 
 135 
 
 Sheridan in Edinburgh, in 
 
 131 
 
 „ Disturbance in. 
 
 136 
 
 She^s not Him and He is 
 
 
 „ Stayley Riot in. 
 
 '39 
 
 not Her, . 
 
 126 
 
 „ „ Result of. 
 
 143 
 
 She Stoops to Conquer, 
 
 162 
 
 Theatre Royal, First Play in, 
 
 147 
 
 Shuter, Ned, . 
 
 162 
 
 „ Building of. 
 
 151 
 
 Siddons, Henry, 219, 258-60, 
 
 „ Opening of, . 
 
 152 
 
 268, 269, 270. 
 
 
 „ Foote's Lease of. 
 
 153 
 
 „ Miss, 
 
 478 
 
 „ Digges' „ 
 
 157 
 
 „ Mrs, 186, 187, 188, 
 
 189, 
 
 „ „ and Bland as 
 
 
 194,202,263,266. 
 
 
 Lessees of. 
 
 '59 
 
 „ Last Appearance, . 
 
 273 
 
 „ Topham on, . 
 
 164 
 
 „ Mrs Henry, 253, 269, 
 
 271, 
 
 „ Corri rents. 
 
 175 
 
 273. 330, 391- 
 
 
 „ Prosperity declining. 
 
 176 
 
 Skinners' Hall, . 37, 39 
 
 „ Wilkinson rents. 
 
 176 
 
 Slater, J. H., . 
 
 481 
 
 „ Ross and Heaphy, . 
 
 178 
 
 Smith, 0., ... 
 
 351 
 
 „ Charles Kirkpatrick 
 
 
 Smithson, Miss, 
 
 328 
 
 Sharpe on. 
 
 i79 
 
 Smythe, R. S., 
 
 486 
 
 „ Purchase of by Jack- 
 
 
 Sothern, E. A., 
 
 477 
 
 son, . 
 
 i8i 
 
 Southminster, . 
 
 488 
 
 „ Collonade to, . 
 
 201 
 
 Spectacle, 83, 112, 265, 448, 460 1 
 
 „ Stephen Kenible's 
 
 
 Stamper, Francis, . 
 
 136 
 
 Management of. 
 
 215 
 
 „ Epitaph on,by Stayley 
 
 137 
 
 „ Mrs Esten's Lease of, 
 
 218 
 
 Stanley, Montague, 318, 
 
 324, 
 
 „ S. Kemble's Second 
 
 
 357, 372-3- 
 
 
 Lease, 
 
 223 
 
 Stayley, . 137, I39, Hi, 
 
 143 
 
 „ Jackson and Aickin's 
 
 
 Stephens, Miss, 
 
 269 
 
 Lease, 
 
 241 
 
 Theatre, aflfairsof, at alow 
 
 ebb, . . . 249 
 „ to Let, . . .254 
 „ and H. Siddons, 258, 265 
 „ under Murray, . 271 
 
 „ State of, . . 276, 283 
 „ Royal Visit to, . 300 
 
 „ Monopoly, . . 342 
 „ under Lloyd, . .428-9 
 „ „ Rollison and Leslie, 442 
 „ „ Wyndham, . . 454 
 „ Closing of, . . 466 
 „ Particulars of, . 468-g 
 
 ., Alterations of, 272-284, 
 
 302, 307, 350 
 ,, in Leith Street, . 478 
 „ Burned, . . . 480 
 „ Reopened under J. B. 
 
 Howard, . . 480 
 „ Burned, . . . 482 
 „ Rebuilt, . . . 482 
 Thompson, Miss Lydia, 475, 485 
 Thorne, J., . 309,312,317 
 Three Estates, . . 9, 1 8, 1 9 
 Toole, J. L., 454, 455, 456, 457, 
 
 459, 460 462, 464, 473 
 Topham, John, . 164,165 
 
 Thomas, . 
 Trueman, 
 Two Drovers, . 
 Two Roses, 
 
 ■ 53 
 
 ■ 251 
 324, 344 
 
 • 485 
 
 Vails, . . . .Ill 
 Vandenhoff, 304, 316, 329, 472, 
 
 .473- 
 Vezin, Herman, . . 416 
 Victoria Temple, . . 487 
 Vimonda, .... 208 
 Violante, Signora, . 34, 47, 48 
 „ Dr Carlyle's Mention of, 35 
 
 Wallacks, The, . 
 
 . 217 
 
 „ Mr and Mrs, . 
 
 • 333 
 
 „ Miss, 
 
 • 333 
 
 Wallis, Miss, . 
 
 . 229 
 
 Ward, Mrs, first appear- 
 
 anceinEdinburgh, 59 
 „ Career, ... 60 
 „ goes to Liverpool, . 99 
 „ Letters to Digges, . 99 
 „ Devotion to Digges, 100 
 „ SchemefortheThcatre 
 
 Management, . 100 
 „ in Liverpool, . . loi 
 „ goes to Newcastle, . loi 
 „ parts from Digges, . loi 
 „ Mrs Bellamy on, . 102 
 „ reappearance in 1766, 138 
 „ last benefit, . . 145 
 „ Mrs (from Liverpool) 183 
 
Index. 
 
 511 
 
 Warton on the early pro- 
 pensities of the Scotch 
 for entertainments, . 4 
 Waterman, . . .168 
 WaverUy, 308, 341, 344, 356,445 
 Webb, Henry, 405, 409, 440, 
 
 452. 
 Webster, G., . 
 Week at Bolyroocf, . 
 Whisky and Water, . 
 White, . 
 
 Wilkinson, Tate, account ol 
 Edinburgh Com 
 pany in 1758-9, 
 „ on starring in Edin 
 
 burgh, 1764, 
 „ account of, 
 Wilkinson, Description of 
 Edinburgh and the 
 Theatre, . . .128 
 
 487 
 
 353 
 456 
 
 352 
 
 104 
 
 127 
 127 
 
 PAGE 
 
 Wilkinson, anecdote of, . 130 
 „ first appearance in 
 
 Edinburgh, . 130 
 „ second visit, . -133 
 „ in Glasgow, . . 1 34 
 ., on •Mrs Baker,. . 172 
 „ takes T. R., . . 176 
 
 Wilson's Memorials on 
 
 Three Estates, . 18 
 ,, (the singer), 329, 362, 366, 
 
 371. 
 Wilton, Miss, . . . 433 
 Winter's Tale, . . .481 
 Woods, Mr,firstappearance, 157 
 „ farewell benefit and 
 
 address by, . 243 
 
 „ career, . . . 244 
 
 Woodstock, . . .318 
 
 Woodward in Edinburgh, 155, 
 
 156. 
 
 FACE 
 
 Writer's Clerk, . . 344 
 
 Wyndham, F. W., . 453, 482 
 
 „ K. H., 392, 397, 399, 409, 
 
 412, 427-8, 434, 437, 
 
 440,447,449,454,455, 
 
 460,466,472,474,475. 
 
 „ retires, . . . 480 
 
 ,, revivals, . . 460, 461 
 
 „ Mrs, . . 431, 453 
 
 Yates,. . 282,344,349,351 
 „ Mrs, Terms for En- 
 gagement, . 160 
 „ First Appearance, . 161 
 „ in Edinburgh, . . 191-2 
 Yoik, Duke of, in Scotland, 28 
 Young, Charles Mayne, 242 
 
 317,329, 350- 
 " Young Koscius " {see Betty). 
 
 Ediuburgh: Printed liy Dawh Macdonald, 42 Hanover Street. 
 

 
i| 
 
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