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THE SUSPICIOUS HUSBAND:

A COMEDY, BY BENJAMIN HOADLY, M.D.

If the merit of a drama be estimated by it's success, the character of this
piece must be of a very elevated standard; for, though the first night pre-
sented a considerable previous opposition, yet, from the time the curtain
rose, the performance gradually overcame it, and elicited universal applause.
Though The Suspicious Husband must be always regarded as an excellent
Comedy, and is still acted with success, it's merits are, perhaps, pleasing
rather than striking; and the vivacity of the plot and action prevents it's
imperfections of design, character, and language, from being too rigidly
noticed: yet the parts of Ranger, Mr. Strictland, and Clarinda, are lively,
well-drawn, and expressive. The former is a perfect portrait of a thought-
less, spirited, and undesigning, rover, from whom it was originally intended
to have called this piece The Rake; and to Garrick's inimitable performance
of the part may be chiefly attributed the success of the Comedy during it's
first run.
Strictland, from whom the play now derives it's name, is imi-
tated from Ben Jonson's Kitely, and it was originally so excellently played
by Bridgewater, that, though he was otherwise an actor of no great talent,
he received very considerable applause; and on selecting the character for
his benefit, assigned the public approval as his reason. The original Cla-
rinda was Mrs. Pritchard. In modern times, the same parts have been most
successfully performed by Elliston, Pope, and Miss Duncan. The charac-
ter of Jack Meggot, originally played by Woodward, is observed by Foote,
to be intended as an experiment whether Italy would furnish a traveller,
whose follies should prove as ridiculous and diverting as the numerous
characters of a similar kind from France; but, no sooner is the attention
attracted to him, than he eludes it: and though "he does survive the loss
of his monkey, Otho, he is never tolerable company afterwards." The scene
of this piece is London, and the time of action about thirty-six hours.

Dr. Hoadly's Suspicious Husband was first acted at Covent-Garden, February 12th, 1747, with "the characters all new dressed;" the Prologue being spoken by Ryan, and the Epilogue by Mrs. Pritchard. It's run was stopped after the twelfth night by the illness of Garrick, but the piece was re-produced on March 21st, with Chapman in the part of Ranger, until he could resume it. George II. is said to have been so well pleased with this Comedy that he sent the author £100. He appears, however, to have had several envious censurers; to silence whom Macklin produced his Farce of The Suspicious Husband Criticised, or the Plague of Envy, at Drury-Lane.

The Suspicious Husband.

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Mrs. Strictland. Whence came you? How got you here?

Ranger. Dear madam, so long as I am here, what signifies how I got here, or whence I came? But that I may satisfy your curiosity, first, as to your "Whence came you?" I answer, out of the street; and to your "How got you here?" I say, in at the window; it stood so invitingly open, it was irresistible. But, madam-you were going to undress. I beg I may not incommode you.

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Ranger.

Ha! a light, and a woman! by all that's lucky, neither old nor crooked! I'll in-Ha! she is gone again! I will after her. [Gets in at the window.] And for fear of the squalls of virtue, and the pursuit of the family, I will make sure of the ladder. Now, fortune be my guide.

Act 3. Sc. 1.

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THE GAMESTER:

A TRAGEDY, BY EDWARD MOORE.

WHEN the present most solemn and affecting drama was first performed, it was expected that the public would treat it with vindictive severity, the author's Comedy of Gil Blas having been forced upon the town several times after the strongest disapproval. The Rev. Joseph Spence, therefore, permitted The Gamester for the first four nights to be attributed to himself, and it was applauded accordingly; but when the real author became known, some of the most forward previous admirers of the Tragedy, were the very first to condemn it as Moore's. After all, however, they knew not whose composition they censured, since the interview between Lewson and Stukely in Act iv. Scene 1, is said to have been written by Garrick.

The Gamester was first performed at Drury-Lane, February 7th, 1753, after some delay, as the original bill states that "The Managers being engaged to act Two New Plays this winter, could not longer defer this Tragedy in waiting for Mr. Havard's recovery; Mr. Davies, at a very short warning, has willingly undertaken the character which Mr. Havard was to have acted, and humbly hopes for the indulgence of the public." It is generally stated that the original success of this drama was but indifferent; but on the Tenth night of it's performance, February 17th, the following notice is inserted in the bills of the day : ""Tis hoped that the ladies and gentlemen who have taken places for this Play for Monday and Tuesday next, will not take it ill that it is deferred for a few days; it being impossible to continue acting the principal character without some respite." That part was performed by Garrick, Mossop was Lewson, and Davies played Stukely instead of Havard; Mrs. Pritchard was Mrs. Beverley, and Miss Haughton was Charlotte. The present Tragedy was one of the earliest in which Mr. J. P. Kemble and Mrs. Siddons appeared together, and their solemn and affecting performance was first exhibited at Drury-Lane in 1784. Mr. C. Kemble has also frequently played the Gamester with great ability; whilst the part of his amiable wife was excellently sustained by Miss O'Neill, who first performed it at CoventGarden, December 14th, 1815, and by Miss Fanny Kemble at the same Theatre, February 25th, 1830. Cooke was also particularly excellent in Stukely, and it has been said that the character died with him.

The Gamester was originally censured too deep to be witnessed; but when Dr. Young saw it in manuscript, he observed that gaming required as severe caustic as the last act; and it was supposed that many persons were enraged chiefly at having their favourite vice so powerfully and openly attacked.

The Gamester.

Stukely. The marriage vow, once violated, is in the sight of heaven dissolved. Start not, but hear me! 'Tis now the summer of your youth. Time has not cropped the roses from your cheek, though sorrow long has wash'd them-Then use your beauty wisely; and, freed by injuries, fly from the cruellest of men, for shelter with the kindest. Mrs. Beverley. And who is he?

Stukely. A friend to the unfortunate; a bold one, too; who, while the storm is bursting on your brow, and lightning flashing from your eyes, dares tell you that he loves you.

Mrs. Beverley. 'Would that these eyes had heaven's own lightning, that with a look thus I might blast thee! Am I then fallen so low? Has poverty so humbled me, that I should listen to a hellish offer and sell my soul for bread? Oh villain! villain! But now I know thee, and thank thee for the knowledge.

Act 3. Sc. 4.

Ye slaves of passion, and ye dupes of chance,
Wake all your powers from this destructive trance!
Shake off the shackles of this tyrant vice,
Hear other calls than those of cards and dice.

Garrick's Prologue.

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BARBAROSSA :

A TRAGEDY, BY THE REV. JOHN BROWN, D.D.

VOLTAIRE'S Merope is generally supposed to have suggested the original
design of this drama; for though the distresses of Zaphira in the present
piece fall far short of those of the heroine in the former, there is a very close
resemblance between Eumenes being suspected as his own murderer, and
Achmet declaring himself to be such. The history of the Tragedy is derived
from the well-known adventures of the Greek Pirate Aruch Barbarossa; who,
having been solicited to aid the Algerines against Charles V. in 1516, made
himself sovereign of their country by privately murdering Prince Selim Eu-
temi, and seizing upon the person of his widow Zaphira. She rejected him,
and he was at length defeated and slain by her son and his allies, about the
end of 1517, at which period the action of the Tragedy takes place; the
scene being laid in "the royal palace of Algiers, and the time being a few
hours about midnight." Dr. Brown, perhaps, derived his account of these
events, from the stately and romantic narrative of them in A Compleat His-
tory of the Piratical States of Barbary. London: 1750. 12mo. The story is
also to be found in The London Magazine for 1754, Vol. xxiii. page 531.
The Tragedy of Barbarossa was originally brought out at Drury-Lane,
December 17th, 1754; when Garrick performed Achmet, Mossop the Usur-
per, and Mrs. Cibber Zaphira. Garrick also furnished both the Prologue
and Epilogue, the former of which he spake in the character of a Country-
boy; the latter being delivered by Woodward as a Fine Gentleman. The
excellent acting of this piece, however, supported it but about eleven nights
only.

It was in the character of Achmet in Barbarossa, that William Henry West Betty, the Young Roscius, first appeared in London, at Covent-Garden, December 1st, 1804; after having excited the greatest interest and admiration in the country. As he was then 13 years old, and the Prince is supposed to be about 20, the character was well adapted to his appearance ; and he performed it with considerable talent, and with the most unbounded applause. The multitudes which followed him were so excessive, that they assembled round the Theatre by one o'clock on the day of his coming-out; and the moment the house was opened it was literally overflowing. His first engagement was for 50 guineas each night, with a free benefit; and he also performed at intervals at Drury-Lane upon the same terms, and with equal popularity and applause: but when he returned to the London Stage in December 1805, his attraction had declined, and soon passed entirely away.

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