By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
These featured in quantity 10 comprise Margaret Martyr, a singer, actress, and dancer whose “conjugal virtues have been usually impeached,” in response to the July 1792 Thespian journal. The Dictionary describes this least consistent of fans as “of middling top, with a determine well-proportioned for breeches components. [Her] black-haired, black-eyed attractiveness and transparent soprano made her an immediate well known luck in merry maids and tuneful minxes, the piquant and the pert, for 1 / 4 century.”
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Extra info for A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660-1800, Volume 10
The conception ranked in power with Garrick's Richard III and Kemble's Coriolanus and surpassed both in its eventual influence over acting style. The preparation of his coup with Shylock had left Macklin little leisure to prepare other new roles in 174041, but several were significant: Fondlewife in The Old Bachelor, Higgen in The Royal Merchant, Macahone in The Strollers, and Malvolio in Twelfth Night. He also indulged his fondness for being a "pantomime boy" as a Clown in Harlequin Shipwrecked.
The theatrical annalist James Winston recorded in The Theatric Tourist (1805) that Macklin was playing at Portsmouth in 1732. Sybil Rosenfeld in Strolling Players and Drama in the Provinces proposed that he was "trying his strength" in the Bath company early in the 1730s. He may have been a familiar figure on provincial stages in the south and west of England. But he found no firm foothold in London until the season of 173334, when Theophilus Cibber led a sudden revolt against the management of the amateurish Drury Lane patentee John Highmore.
The company was stiffened sev- Page 12 eral times with experienced performers like Henry Vaughan and old "Dagger" Marr. But most roles were attempted by young folk who were seen once or twice and never again in London. Macklin himself acted with his tyros and added to his repertoire Loveless in The Relapse. The Haymarket experience cannot have been a great financial success. Macklin and his wife acted on the Kentish circuit in the summer of 1744, but that employment meant bare subsistence. The measure of the family's desperation can be understood from the letter which Macklin, choking down his pride, sent to Fleetwood on 2 November 1744, begging forgiveness and reinstatement: Consider, sir, I have been in Purgatory fourteen long, long months; .
A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660-1800, Volume 10 by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans