By Philip H Highfill Jr
Those featured in quantity 10 contain Margaret Martyr, a singer, actress, and dancer whose “conjugal virtues have been usually impeached,” based on the July 1792 Thespian journal. The Dictionary describes this least consistent of fans as “of middling peak, with a determine well-proportioned for breeches elements. [Her] black-haired, black-eyed good looks and transparent soprano made her an immediate renowned good fortune in merry maids and tuneful minxes, the piquant and the pert, for 1 / 4 century.”
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Extra resources for A Biographical Dictionary of Actors, Volume 10, M’Intosh to Nash
Example text
A Voice Britain be happy, and rejoice, That when your Cibber dies The Gods have yet in store for thee, A Macklin; and in her you'll see Another Cibber rise. She performed a minuet with the dancer Leviez on her benefit night, a gracenote which became usual with her. The ballet master Noverre assisted her in her minuet. Maria remained one more season with Garrick and Drury Lane, a season in which she added to her repertoire the original Charlotte ("with Prologue") in her father's new farce Love àlaMode (which, wrote Cross, "went off very greatly"), the original Widow Bellmour in Arthur Murphy's "entertainment" The Way to Keep Him, Lady Harriot in a revival of The Funeral, Biddy in The Tender Husband, Clarinda in The Double Gallant, and, for Kitty Clive's benefit, some part unspecified in a new farce, Every Woman in Her Humour.
Maclelan was at Bath in 1753–54 and made his Norwich debut on 9 February 1756, according to the Norwich Mercury, and he apparently performed in that town until 1762. See M ACKLOUD. See M ACKLIN. See also M ACMAHON and M AHON. ], actor.
A copy in reverse was also issued. Published as a plate to London Magazine, 1773. A copy in reverse was also issued. A similar picture, probably also by Alcock, is in a private collection in New York. A copy, in another edition, was also issued. Wright, 1775. Yolland, 1790. 1775. Bell, 1785. De Loutherbourg. For the provenance and a detailed discussion of this painting and the Nos 29, 30, and 31, below, see Mander and Mitchenson, The Artist and the Theatre (1955). Engraving by John Smith, published in Robert Sayer's edition of Dramatic Characters, or Different Portraits of the English Stage.