Macready,
William Charles (1793-1873) English
actor born in London on March 3rd. He
was the son of the well known manager of
the Bristol theatrical circuit. Educated
at Rugby, it was William’s intention
to go up to Oxford to study law, but in
1809 when he was 15 years old he had to
leave school because of his father’s
sudden bankruptcy and imprisonment for
debt. Reluctantly, he left to help share
in the responsibilities of theatrical
management. The bitterness remained
closed to the surface throughout his
40-year career often manifesting itself
in arrogance and anger, for which he was
often despised by his fellow actors.
On
June 7, 1810, he made his successful
debut as Romeo in Birmingham. Other
Shakespeare parts followed, but a
serious rupture between father and son
resulted in his departing for Bath in
1814. He remained there for two seasons,
with occasional trips to the provinces.
In 1816, with John
Philip Kemble newly retired and Edmund
Kean reigning supreme at Drury
Lane, Macready was hired as a new
attraction at Covent Garden. Poorly used
there in such roles as Orestes in The
Distressed Mother a translation of
Racine’s Andromaque, and Scott’s
Rob Roy, he made little impact.
It was not until October 25, 1819 when
he risked all in a part that was
virtually the property of Kean,
Richard III. He was the first actor
in Covent Garden history to be summoned
for a curtain call by an enthusiastic
audience.
He followed this success with
the first of many parts in which he
could display his skill in the portrayal
of a favorite 19th century emotion,
paternal love. This was Sheridan Knowles’s
Virginius (1820), and it marked a
mutually advantageous relationship
between actor and playwright. His acting
style was more industrious and observant
rather than charismatic where he aimed
to make passion intelligible.
In 1825,
he transferred his service to the Drury
Lane Theatre, and continued to grow in
the public favor with another Sheridan
Knowles vehicle, the title role in William
Tell. Knowles was the first of many
contemporary playwrights through whom
Macready hoped to raise the standards of
English drama. In 1826 he made his
America debut at the Park Theatre in Virginius
followed by one in Paris in 1828.
It was
not until 1834, that he first played
Lear. It was by many accounts his finest
role. After entering on the management
of Covent Garden in 1837, he continued
to encourage the creation of modern
English drama by introducing Robert
Browning’s Strafford, and in
the following year Bulwer’s Lady of
Lyons and Richelieu, the
principal characters in which were among
his most effective parts.
On June 10,
1838, he gave a memorable performance as
Henry V, for which Stanfield
prepared sketches, and the mounting was
supervised by Bulwer, Dickens, Forster,
Maclise, W.J. Fox and other friends. And
in December of 1840, under the direction
of Count d’Orsay, he won unmistakable
success in the character of Elfred
Evelyn in Bulwer’s Money.
Both
in his management of Covent Garden,
which he resigned in 1839, and of Drury
Lane, which he held from 1841 to 1843,
he found his designs for the elevation
of the English stage frustrated by the
absence of adequate public support and
his growing fury at other’s refusal to
measure up to his high standards. These
endeavors for all there high intentions
left him bankrupt and he spent the last
years on the stage saving towards his
retirement.
In 1843-1844 he made a
second prosperous tour of the United
States. From the start, elements of the
press had attacked him personally and
his open contempt for American actors
exacerbated matters. Things came to a
head when on his last visit to America
in 1848 a riot broke out at the Astor
Opera House in New York. This incident
arose as much from a personal enmity
between himself and Edwin
Forrest as one of national and class
rivalry. The tragic results ended with
the death of seventeen persons who were
shot by the military called out to quell
the disturbance. Immediately thereafter
he set sail for England, never to return
to the United States.
He took his
farewell from the stage in 1851 in his
favorite part of Macbeth
at Drury Lane. He concluded his diaries
with the exclamation "Thank
God." The remainder of his life was
spent in happy retirement and he died at
Cheltenham on April 27, 1873.
Macready’s
performances always displayed fine
artistic perceptions developed to a high
degree of perfection by very
comprehensive culture, and even his
least successful personations had the
interest resulting from thorough
intellectual study. He belonged to the
school of Kean rather than of Kemble;
but, if his taste were better
disciplined and in some respects more
refined than those of Kean, his natural
temperament did not permit him to give
proper effect to the great tragic parts
of Shakespeare, King Lear perhaps
excepted, which afforded scope for his
pathos and tenderness, the qualities in
which he specially excelled.