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about Nothing: he, probably, acted such parts as required dry humour rather than splendid
SAMUEL CROSS. declamation. He was recognised as a fellow by Augustine Phillips, in 1605, and distin
This actor was, probably, dead before the year guished as a friend by a legacy of twenty 1600; for Heywood, wbo had himsell written shillings. He lived among the other players,
for the stage before that time, says he bad never and among the fashionable persons of that
seen him. period, in Holywell-street. The exact date of his death is unknown, but he was buried, ALEXANDER COOKE. says the register of St. Leonard's, Shoreditch, on the 13th of March, 1618, three days before
It appears that this actor was the heroine of the great Burbage was laid in the same ce- the stage, even before the year 1586. He acted metery.
as a woman in Jonson's Sejanus, and in The
Fox; and it is thence reasonably supposed, that JOHN LOWIN
he represented the lighter females of Shak
speare's dramas. Alexander Cooke was recolWas a principal performer in Shakspeare's lected as a fellow by Augustine Philips, and plays. If the date on his picture in the Ash- distinguished as an intimate by a legacy. molean Museum at Oxford, is accurate, he was born in 1576. Wright mentions in his His
SAMUEL GILBURNE, unknown. toria Histrionica, that “before the wars, he used to act the part of Falstaff with mighty ap
ROBERT ARMIN plause;" but, without doubt, he means during the reign of king Charles I. from 1625 to 1641. Performed in The Alchymist, in 1610, and When our poet's King Henry IV. was first ex- was alive in 1611, some verses having been hibited, Lowin was but twenty-one years old; addressed to him in that year by John Davies it is, therefore, probable that Heminges, or
of Hereford, from which he appears to have some other actor, originally represented the fat occasionally performed the part of the clown or knight, and that several years afterwards the fool: part was given to Lowin. Roberts, the player,
* To honest, gamesome, Robert Armine, informs us, that he also performed King Henry Who tickles the spleene like a harmless vermin." Vill. and Hamlet; but with respect to the
* Armine, what shall I say of thee, but this, lalter, bis account is certainly erroneous, since Thou art a fool and knave; both ?-fie, I miss,
And wrong thee much; sith thou indeed art peither, it appears from more ancient writers, that
Although in shew thou playest both together." Joseph Taylor was the first representative of that character. Lowin is introduced in the
He was the author of a comedy called The Induction to Marston's Malecontent, and he and Two Maids of More-clack, 1609; also of a Taylor are noticed in a copy of verses, written book called A Nest of Ninnies, simply of themin the years 1632, soon after the appearance selves without Compound, 1608; and, at Slaof Jonson's Magnetic Lady, as the iwo most tioners' Hall, was entered, in the same year, a esteemed actors of that lime:
book called Phantasm, the Italian Taylor, and
his Boy, made by Mr. Armin, servant to his “Let Lowin cease, and Taylor scorn to touch majesty. He was certainly one of the Lord The leathed stage, for thou hast made it such."
Chamberlain's Players at the accession of king Though Heminges and Condell had an interest James, and was received, with greater actors, in the theatre to the time of their death, yet they into the royal company. As a fellor, Armin ceased to act about the year 1623 ; and, in the was kindly remembered by Philips, who left him next year, Lowin and Taylor look the manage
a legacy of twenty shillings. ment. After the theatres were suppressed, Lowin became miserably poor; and, in his
WILLIAM OSTLER later years, he kept an inn, the Three Pigeons at Brentford. He died in London, aged eighty- Had been one of the Children of the Chapel, three, and was buried in the ground belonging having acted in Jonson's Poelaster, together to the parish of St. Martin's in the Fields, with Field and Underwood, in 1601, and is March 18, 1658.
said to have performed women's parts. lo 1610, both he and Underwood acted as men in | 1610. It is highly probable, however, that he Jonson's Alchymist. In Davies's Scourge of performed in our author's plays. Folly, there are some verses addressed to him with this title: "To the Roscius of these
JOSEPH TAYLOR. limes, William Ostler.” He acted Antonio, in Webster's Duchess of Mally, in 1623 ; but
According to Downes, the prompter, he was the period of his death is uncertain.
instructed by Shakspeare to play Hamlet ; and
Wright, in his Historia Histrionica, says, “He NATHANIEL FIELD
performed that part incomparably well.” From AND JOHN UNDERWOOD. the remembrance of his performance of Hamlet,
sir William Davenant is said to have conveyed Both these actors had been Children of the his instructions to Mr. Betterton. He likewise Chapel; and, probably, at the Globe and Black- played lago, and is highly commended by friars theatres, performed female parts. Field,
various contemporary authors. In the year when he became too manly to take the characters 1614, Taylor was at the head of a distinct comof women, played the part of Bussy d'Ambois,
pany of players, called The Lady Elizabeth's in Chapman's play of that name. From the Servants, but he soon returned to his old friends ; preface to one edition of it, it appears that he
and after the deaths of Burbage, Heminges, and was dead in 1641.
Condell, became manager of the King's ComNothing more is known of John Underwood pany, in conjunction with Lowin and Swanston. but that he performed the part of Delio, in The In September, 1639, he was appointed Yeoman Duchess of Mally, and that he died about the of the Revels in Ordinary to his Majesty, in
the room of Mr. William Hunt; there were year 1624.
certain perquisites annexed to this office, and a NICHOLAS TOOLEY
salary of sirpence a day. When he was in attendance upon the king, he had a salary of
31. 68. 8d. per month. Taylor died in the Was one of the unnamed associates of Shak
He speare, Burbage, and Heminges, at the Globe, year 1653, and was buried at Richmond.
must have been pearly seventy years of age at and was one of the original actors in our bard's
his death. He is said by some lo have painted dramas. He, too, represented women, as early as 1589, and acted Rodope, in Tarleton's Platt the portrait of Shakspeare, now in the possession of the Seven Deadlie Sions. He performed in much more likely that Burbage was the artist,
of the duke of Chandos; but, if genuine, it is the Alchymist, in the year 1610. Tooley, from some expressions in bis will, seems to have for there is a picture in Dulwich College, which
he is known to have painted. been the servant or apprentice of Burbage, to whose last lestament he was a witness. Tooley made his owo will on the 3d of June, 1623;
ROBERT BENFIELD he died soon after, in the house of Cuthbert Burbage, in Holywell-street; to whose wife,
Was but a second-rate aclor. He acted the Elizabelh, the testator lest a legacy of ten King, in the Deserving Favourite; Ladialaus, pounds, “as a remembrance of his love, in in The Picture; and Junius Rusticus, in The respect of ner motherly care of him.” Tooley Roman Actor. He was living in 1647, being was a most benevolent man; while he bustled one of the players who signed the dedication to in the world he did many kind acts, and when the folio edition of Fletcher's plays, published be could no longer perform, he gave considerable in that year. legacies to the poor of St. Leonard's Shoreditch, and St. Giles's Cripplegate, which administer
ROBERT GOUGHE. to the comfort of the needy even to the present Jay.
This actor performed female characters : in
the Seven Deadly Sins be played Aspatia; but WILLIAM ECCLESTONE. in 1611 he had arrived to an age which entitled
him to represent male parls; for in The Second All we know of this actor is from Ben Jonson's Maiden's Tragedie, which was produced in tha! Althymist, in which his name occurs, in the year year, he performed the Tyrant.
RICHARD ROBINSON he performed the Marquis of Pescara, an in
considerable part in The Duchess of Malfy. Acled in Jonson's Cataline in 16?1; and
He was, perhaps, the brother of Stephen Rice, from a passage in The Devil is an Ass, 1616,
who is mentioned in the will of Jobo Heminges. it appears that at that period he usually took female characters
We have thus enumerated all those per"........We had The merriest supper of it there, one night
formers who appear, with any certainly, lo bave The gentleman's landlady invited him
distinguished themselves in the original proTo a gossip's feast : now he, sir, brought Dick Robinson Drest like a lawyer's wife.”
ductions of Shakspeare's dramas. Of their In The Second Maiden's Tragedie he per
real merits it is impossible lo speak; yet some formed the Lady of Govianus. In The Deserv- of them, doublless, particularly Burbage, Tay. ing Favourite, 1629, he played Orsino ; and
lor, and Lowin, were very excellent aclors; in The Wild Goose Cbase, Le Castre. Hart,
and though the mechanical part of stage reprethe celebrated actor, was originally his boy or
sentations was, in their time, extremely imapprentice. In the civil wars he served in the perfect, we may be certain that they were able king's army, and was killed in an engagement to furnish the public of that age with an enterby Harrison, who was afterwards hanged at tainment bighly acceptable. The drama, inCharing-cross. Harrison refused him quarter deed, was much more a national pastime then after he had laid down his arms, and shot him than at present, for it furnished a source of dein the head, saying at the same time, “Cursed light to all ranks, and was highly patronised. In is he that doelh the work of the Lord negli- our own more enlightened age, dicing, boxing, gently."
and horse-racing have superseded, among the JOHN RICE.
higher classes, the antiqualed allraclions of that
slage, which Shakspeare, Jonson, and Massinger Nothing is known of this player, except that illustraled by their transcendent genius.
Fac-Simile of an ancient Engraving
The Red Bull Theatre.
Little more of this theatre is known than that it formerly stood on a plot of ground, called till within these twenty years, Red Bull Yard, bear the upper end of St. John Street, Clerkenwell.
During the civil wars, it was much recuted for the representations of Drolls, to a collectiea of which pieces, published by Francis Kirkman in 1672, the annexed view forms a frontispiece. This relique derives much interest from its throwing some light on the interior economy of the ancient theatres. The figures on the stage are supposed to be portraits of the popular actors in these drolls. The one playing Simpleton is knowa to be Robert Cox, then a great favourite, of whom the publisher thus speaks in his preface : « I have seen the Red Bull Playhouse, which was a large one, so full, that as many went back for want of room as had entered. Robert Cox, a principal actor and contriver of these pieces, how I have beard him cryed up for his. John Swabber, and Simpleton tbe Smith: in which latter, he being to appear with a large piece of bread and batter on the stage, I bare frequently known some of the female spectators to long for it,".
The following Table contains the Name, Situation, and Time of Erection of
the Theatres on which the preceding Actors appeared.
reg. James I.
Built between 1570- Jas. Burbage, Per- By ordinance of Par73, 1st Patent keyn, Wilson, an.
liament, 1648 granted 1574; 1574: Shakspeare, 20 do. 1603
dell, &c. an. 1603 First Circus for bear. Master, 1586, Mor- Shut up for plays baiting built reg. gan Pope – Pa
in 1648, open for Hen. VIII. Hore tentees, Alleyn &
other performanHeuslowe, till 1621 ces till an. 1656-7, - Master, 1642- demolished 1659 Godfray-Master,
1686, Henry Bavly Between 1570-80 Query : Tarlton, By ordinance of Par
who was the prin- Tiament, 1618
cipal actor there? Between 1570-80 Tarlion, &c. and du- As above. 1643, but
allowed to perRobert Cox, co
form Dolls durmedian, &c.
ing interregnum Built 1599; burnt Edward Alleyn By ordinance, 1648
1624 : rebuilt 1629
1647 Began 1617 - Fi- Edward Alleyn
By ordinance, 1618 nished 1618 Anno 1617. Same Anno 1623. Rhodes, 1618; but re-opened
year pulled down of the Blackfriars for operas from by the mob; re
Company, & Pe- 1653 to 1660
ter Wadlowe; af-
By ordinance, 1648
By ordinance, 1648
hy Patent 1663– Patentee (whose 1791 - 1794; aud
1812-Performing ing themselves by 1831
Act of Parliament Built in 1662, re- Sir Wm. Davenant, Deserted 1682, on moved to Dorset by Patent first the king's and Gardens 1671 granted 1629, and
duke's companies renewed by In- uniting speximus 1660
N.B. The above were exclusive of ST. PAUL's School, and other occasional theatres. of the more modern theatres, the PORTUGAL STREET THEATRE was opened 1695; Covent Garden in 1733; Goodman's Fields in 17-29; and the HAYMARKET near the same time.
might wish or enjoin a sorrowsal son to execule
towards his future quiet in the grave. This “ BETTERTON (says Colley Cibber in his was the light into which Betterton ibrew this Apology) was an actor, as Shakspeare was an scene, which he opened with a pause of mute author, both without competitors; formed for amazement; then rising, slowly, to a solemn ibe mutual assistance and illustration of each trembling voice, he made the ghost equally other's genius. How Shakspeare wrote, all terrible to the spectator as to himself; and, in men who have a laste for nature may read, and the descriptive part of the nalural emotions know; but with higher rapture would he still which the ghastly vision gave him, the boldness be read, could they conceive how Bellerton of his expostulation was still governed by played him. Then might they know the one decency,-manly, but not braving; his voice was born alone to speak what the other only never rising into that seeming outrage, or wild knew to write. Could how Betterton spoke, defiance of what he naturally revered. But, be as easily known as what he spoke, then might alas ! to preserve this medium between mouthyou see the muse of Shakspeare in her triumph, ing and meaning loo little, lo keep the altention with all her beauties in their best array, rising more pleasingly awake, by a tempered spirit, into real life and charming her beholders. But, than by mere vehemence of voice, is of all the alas! since all this is so far out of the reach of master-strokes of an actor, the most difficult to description, how shall I shew you Belterton ? reach. In this pone yet have equalled Betterton. Should I, therefore, tell you, that all the “A farther excellence in Betterton was, that Othellos, Hamlets, Holspurs, Macbeths, and he would vary his spirit to the different chaBrutus's, whom you may have seen since his racters be acted. Those wild impatient starts, lime, have fallen far short of him! this still that fierce, and flashing fire, which he threw should give you no idea of his particular ex-into Hotspur, never came from the unrufled cellence. Let us see, then, what a parlicular lemper of his Brulus (for I have more than comparison may do; whether that may yet once seen a Brutus as warm as a Hotspur). draw him nearer to you. You have seen a When the Betterlon Brulus was provoked in Hamlet, perhaps, who, on the first appearance of his dispute with Cassius, his spirit flew only to his father's spirit, has thrown himself into all the his eye, his steady look alone supplied that straining vociferations requisite lo express rage terror, which he disdained an intemperance in and fury, and the house has thundered wilh ap- bis voice should raise to. Thus, with a settled plause, though the misguided actor was all the dignity of contempt, like an unheeding rock, while (as Shakspeare terms it) tearing a passion he repelled upon himself the foam of Cassius. into rags. I am the more bold to offer you this Not but in some part of this scene, where he particular instance, because the late Mr. Addi- reproaches Cassius, bis temper is not under this son, while I sat by him, to see the scene acted, suppression, but opens into ibat warmth which made the same observation ; asking me, with becomes a man of virtue; yet this is the basty some surprise, if I thought Hamlet should be spark of anger which Brutus endeavours lo in so violent a passion with the Ghost, wbich, excuse. though it might have astonished, it had not “ Betterton had so just a sense of what was provoked him? for you may observe in this true or false applause, that I have heard him beautiful speech, the passion never rises beyond say, that he never thought any kind of it equal an almost breathless astonishment, or an im- to an allentive silence: that there were many palience, limited by filial reverence, to in- ways of deceiving an audience into a loud one; quire into the suspected wrongs that may have but to keep them hushed and quiet, was av raised him from the peaceful tomb, and a desire applause which only truth and merit could 10 know, what a spirit so seemingly distressed, arrive at, of which art there never was an