A Book of the Play: Studies and Illustrations of Histrionic Story, Life, and CharacterCook, Dutton
History
A Book of the Play: Studies and Illustrations of Histrionic Story, Life, and Character
Cook, Dutton
Theater -- Great Britain -- History
similar result, insomuch that the Master of the Revels, Sir Henry
Herbert, who had duly sanctioned their performance, records in his
accounts that, "in respect of their ill luck," he had returned some
portion of the fees they had paid him for permission to play.
Whether these French "women-actors" failed because of their sex or
because of their nationality, cannot now be shown. They were the first
actresses that had ever been seen in this country. But then they were
not of English origin, and they appeared, of course, in a foreign
drama. Still, of English actresses antecedent to the Desdemona of the
Vere Street Theatre, certain traces have been discovered. In Brome's
comedy of "The Court Beggar," acted at the Cockpit Theatre, in 1632,
one of the characters observed: "If you have a short speech or two,
the boy's a pretty actor, and his mother can play her part;
women-actors now grow in request." Was this an allusion merely to the
French actresses that had been seen in London some few years before,
or were English actresses referred to? Had these really appeared, if
not at the public theatres, why, then, at more private dramatic
entertainments? Upon such points doubt must still prevail. It seems
certain, however, that a Mrs. Coleman had presented herself upon the
stage in 1656, playing a part in Sir William Davenant's tragedy of
"The Siege of Rhodes"--a work produced somehow in evasion of the
Puritanical ordinance of 1647, which closed the theatres and forbade
dramatic exhibitions of every kind; for "The Siege of Rhodes,"
although it consisted in a great measure of songs with recitative,
explained or illustrated by painted scenery, did not differ much from
an ordinary play. Ianthe, the heroine, was personated by Mrs. Coleman,
whose share in the performance was confined to the delivery of
recitative. Ten years later the lady was entertained at his house by
Mr. Pepys, who speaks in high terms both of her musical abilities and
of herself, pronouncing her voice "decayed as to strength, but mighty
sweet, though soft, and a pleasant jolly woman, and in mighty good
humour."
Public-domain text, read in full here on John Shaqi.
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