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 take care of 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 well known is Susanna Rowson, a novelist, actress, and early girl playwright. even if born right into a British army relations, Rowson usually wrote performs that handled patriotic American issues and spent a lot of her occupation 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 disorder and the deaths of 5 of her seven little ones. Siddons performed significant roles in either comedy and tragedy, now not the least of which was once a functionality as Hamlet.
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Extra resources for A Biographical Dictionary of Actors, Volume 13, Roach to H. Siddons: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800
Then, after that single appearance, she seems to have left the London stage. When Theophilus Cibber wrote his seriocomic Apology in 1748 he spoke of Mrs Roberts as then dead. ] d. 1738, boxkeeper. The London Stage calls the boxkeeper Roberts at Goodman's Fields Theatre in 173334 John Roberts, though the benefit bill cited for him on 17 May 1734 does not supply a Christian Page 13 name. He was a boxkeeper at Goodman's Fields from as early as 172930 through 173536, after which he moved with Henry Giffard's troupe to Lincoln's Inn Fields playhouse in 173637.
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. He had a solo benefit on 26 April 1739 at which he sang "War he sung is Toil and Trouble" from Alexander's Feast and an English cantata.
During the last ten years of his career he spent most of his time singing in the choruses of straight plays. As of the 174041 season he was earning 5s. daily, the same salary he was receiving in 1761. His benefits were often shared with one other person, as on 6 May 1760, when he and Sarjant split gross receipts of more than £174. Ellis Roberts made a few appearances elsewhere. On 8 September 1744 he sang at Richmond, and he returned there on 1 September 1750 to play Moonshine in Pyramus and Thisbe.
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