By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
Just like the works already released, those most modern volumes of the Biographical Dictionary care for theatre humans of each ilk, starting from dressers and one-performance actors to trumpeter John Shore (inventor of the tuning fork) and the incomparable Sarah Siddons.Also famous is Susanna Rowson, a novelist, actress, and early woman playwright. even if born right into a British army relatives, Rowson frequently wrote performs that handled patriotic American subject matters and spent a lot of her profession at the American stage.The theatrical jewel of those volumes is the "divine Sarah" Siddons: "She raised the tragedy to the skies," wrote William Hazlitt, and "embodied to our mind's eye the fables of mythology, of the heroic and dignified mortals of elder time." She persisted a lot tragedy herself, together with a crippling debilitating sickness and the deaths of 5 of her seven little ones. Siddons performed significant roles in either comedy and tragedy, no longer the least of which was once a functionality as Hamlet.
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Additional info for A Biographical Dictionary of Actors, Volume 13, Roach to H. Siddons: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800
These were all parts Mrs Roberts had played; indeed, she acted Gertrude and Lady Graveairs in 174344, so the complainer's comments may not have been valid. But Mrs Roberts was frustrated by Fleetwood and joined Theophilus Cibber's company at the Haymarket, where she was hailed as returning after 12 years to play Andromache in The Distrest Mother on 20 October 1744 (actually, she had performed at the Haymarket ten years before). Then, after that single appearance, she seems to have left the London stage.
Ellis must have been the Roberts who was Jupiter in The Rape of Proserpine begining 8 October 1736, and he was a Chasseur in The Royal Chace on 14 February 1737. References to him in 173738 are sparse, but he was again a Chasseur in The Royal Chace on 13 February 1738 and had a role in Amasis on 22 August. Both Ellis and John Roberts performed at Covent Garden in 173839. Ellis sang in Macbeth and between the acts during that season and was a Chasseur in The Royal Chace, Jupiter in The Rape of Proserpine, the First Guest in Margery (a burlesque opera), a Countryman in The Country Wedding, and Baliardo in The Emperor of the Moon.
The will was proved on 3 May 1775. Roberts, Ellis [fl. ], singer, actor, harpist? Perhaps the Roberts who played Mark Antony in Julius Caesar at the Hyamarket Theatre on 16 February 1728 with "the young Noblemen of the Westminster School" was Ellis Roberts. Four years later, on 28 April 1732, at Drury Lane Theatre Ellis Roberts sang an Italian song, and since the actor John Roberts was also a member of the troupe, the bills thereafter identified the singer as E. Roberts. He continued singing, sometimes in Italian, between the acts, and on 1 August he played Wat Dreary in The Beggar's Opera.
A Biographical Dictionary of Actors, Volume 13, Roach to H. Siddons: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800 by Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans