A Biographical Dictionary of Actors, Volume 14, S. Siddons by Professor Philip H Highfill Jr PhD, Professor Kalman A PDF

By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans

ISBN-10: 0809315262

ISBN-13: 9780809315260

Just like the works already released, those most up-to-date 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 admired is Susanna Rowson, a novelist, actress, and early lady playwright. even if born right into a British army family members, Rowson usually wrote performs that handled patriotic American topics 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 disease and the deaths of 5 of her seven teenagers. 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 14, S. Siddons to Thynne: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800

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Less house charges of £105 15s. ) Rosalind was a role not particularly suited to Sarah, and she did not enhance the performance by the strange manner in which she suited the role; apparently suffering hesitation about Page 16 wearing boy's clothes, she costumed herself with something like a gardener's apron in front and a petticoat behind, and wore hussar's boots. Colman called her Rosalind "a frisking Grog," and the Morning Post complained of her "frittering refinement" and an odd sinking of the voice.

It was to her mother's line that Sarah Kemble owed her beauty and her aristocratic bearing. Though originally John Ward had objected to his daughter's marrying an actor, eventually Roger Kemble was accepted and with his wife toured in Ward's company for about eight years. It was at Brecon, while the company was touring Wales in 1755, that their first child was born. Sarah was baptized a Protestant, the persuasion of her mother, as were all the subsequent Kemble daughters. The sons were raised as Catholics, like their father.

Sarah was greatly intimidated, and, as she recollected to John Taylor, "there was such an expression in his acting, that it entirely overcame her," to the degree that the critics found her lamentable. She played the role again on 3 and 5 May. That season Garrick also cast her as Venus in his revival of The Jubilee on 27 December 1775, earning her the "insidious appellation of Garrick's Venus," as Mrs Siddons herself put it in her Reminiscences (edited by William Van Lennep {1942}, from her manuscript autobiographical notes provided to Thomas Campbell now in the Harvard Theatre Collection).

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A Biographical Dictionary of Actors, Volume 14, S. Siddons to Thynne: 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


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