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Kynaston's characters—selection only.
In Rhodes' Company 1659-1660. Arthiope in Unfortunate Lovers—Princess in Mad Lover—Aglaura in ditto—Ismenia in Maid in the Mill.
In 1660—after he had joined the old actors— Olympia in Loyal Subject—in 1661 Silent Woman.
1664. Sir Dauphine Eugenie in Silent Woman.
1665. *Guyomar in Indian Emperour.
1666. Younger Loveless in Scornful Lady.
1667. *Black Prince.
1669. King of Tidore in Island Princess.
1670. *King of Granada in Conquest of Granada. 1672. 'Valentine in Love in a Wood.
167S. *Harcourt in Country Wife.
1674. *Freeman in Plain Dealer.
1675. *Morat in Aureng-Zebe. 1677. *Cassander in Rival Queens.
1683. Tigranes in King and no King.
1684. *Maximus in Valentinan altered—Antony in J. C.—Sir Philip Luckless in Northern Lass.
1685. *Lord Beaugard in Sir Courtly Nice— Rollo.
1686. *Don Antonio in Banditti.
1687. *Bellmour in Lucky Chance.
1690. *Muley Moluch in Don Sebastian.
1691. *Mr. Rant in Scowrers—*Merlin in King Arthur—Fabel in Merry Devil of Edmonton,
1692. The Traytor.
1693. *Lord Touchwood in Double Dealer.
1694. * Count Baldwin in Fatal Marriage. 1696. *Friendly in Country Wake.
He also acted Cassio—and the Copper Captain.
SandforcPs characters—selection only.
L. I. F. 1661. *Worm in Cutter of Colman Street.
1662. *Malignii in Villain.
1664. *Wheadlein Comical Revenge.
1669. *Wary in Sir Solomon.
D. G. 1672. * Jasper in Fatal Jealousy—*Banquo's Ghost in Davenant's Macbeth.
1676. *Sir Roger Petulant in Fond Husband — *Sir Arthur Oldlove in Madam Fickle.
1679. *Creon in OEdipus.
T. R. 1690. *Benducar in Don Sebastian—Gripus in Amphitryon.
1691. *Osmond in King Arthur.
1692. *Sir Lawrence Limber in Marriage-Hater. L. I. F. 1695. * Foresight.
1697» * Gonzalez in Mourning Bride. 1698. * Ulysses in Heroick Love.
The Tatler (No 134) says, when poor Sandford was on the stage, I have seen him groaning upon a wheel, stuck with daggers, impaled alive, calling his executioners with a dying voice cruel dogs and villains —and all this to please his judicious spectators, who were wonderfully delighted with seeing a man in torment so well acted.
On the English stage we act murders to show our intrepidity, and adulteries to show our gallantry, with this difference only, that the first are done in'the sight of the audience; and the other wrought up to such a height on the stage, that they are almost put into execution, before the actors can get behind the scenes.
Anthony Aston says—" Sandford, although not "usually deem'd an actor of the first rank, yet the "characters allotted him were such, that none besides, "then, or since, ever topp'd; for his figure, which "was diminutive and mean, (being round-shoulder'd, "meagre-fac'd, spindle-shank'd, splay-footed, with a "sour countenance, and long lean arms) render'd "him a proper person to discharge Iago, Foresight "and Malignii * * * his energy was, by his "voice and action, enforced with great soundness of "art and justice—he acted strongly with his face, "and was (as King Charles said) the best villain in "the world."
Williams seems to have joined Betterton in 16991700—and not to have acted after that season—he is said to have been a good actor, but too fond of his bottle.
His characters—selection only.
D. G. 1673. 2d Gravedigger in Hamlet. 1677. *Hadland in Counterfeit Bridegroom.
1678. *Troilns in Destruction of Troy.
1679. *iEneas in Dryden's Troilus and Cressida.
1680. *Polydore in Orphan—*Theodosius.
1681. * Henry 6th in both parts of Crowne's play —*Tiberius in L. J. Brutus—*Beaumond in Rover 2d part—*Bastard in Tate's Lear—*Bertran in Spanish Fryar—*Princeof Cleve—*Sir Charles Meriwill in City Heiress.
VOL. II. N
1682. *Townley in London Cuckolds. T. R. 1685. *Sir Petronell Flash in Cuckold's Haven.
1686. *Don Fernand in Banditti.
1689. * Ranter in English Friar.
1690. *Bacon in Widow Ranter—*Don Sebastian —* Amphitryon.
1691 , *Mortimer in Edward the 3d—* Wildfire in Scowrers—* Oswald in King Arthur.
1692. Sciarrah in Tray tor.
1693. *Vainlove in O. B.—*Mellefont in D. D.
1694. #Biron in Fatal Marriage.
1696. *Elder Worthy in Love's last Shift— * Lieutenant Governor in Oronooko. D. L. 1699. *Roebuck in Love and a Bottle.
Tom Brown, in a letter dated Sep. 12 1699, complains that each of the Companies had recourse to low expedients for filling their houses—Wright in his Historia Histrionica (which was published this year) says that plays could hardly draw an audience, unless some foreign regale was expressed in the bottom of the bill.
D. L. 1700.
Pilgrim was revived. Pedro = Wilks: Alphonso = Johnson: Roderigo = Powell: Governour of Segovia = Simpson: Mad Scholar = Thomas: Mad Parson = Haines: Mad Englishman and Stuttering Cook = Cibber: Mad Welchman — Norris: Mad Taylor = Pinfoman: Alinda = Mrs. Oldfield: Juletta = Mrs. Moor :—Alphonso is a choleric old Gentleman—he wants his daughter Alinda to marry Roderigo—she is in love with Pedro, who is disguised as a Pilgrim —Alinda elopes—her woman Juletta follows her — Alphonso goes in pursuit of his daughter—Pedro falls into the hands of Roderigo, who is an outlaw—Roderigo orders him to be hanged—the other outlaws refuse to hang him—Alinda, who is disguised as a boy, prevails on Roderigo to set Pedro at liberty— Alphonso goes to look for his daughter in a madhouse —Juletta forges a letter to the keeper, and persuades him that Alphonso is mad—he is treated accordingly ■—at the conclusion, Pedro and Alinda are united— Roderigo reforms, and is promised a pardon—this is
one of Fletcher's best plays Langbaine in 1691
says that it had been revived some years since with a new Prologue—but he does not tell us at what theatre —it was now brought out with alterations by Vanburgh—Vanburgh has reduced the blank verse of the original to prose, and has made some slight additions to the mad scene, but his play does not differ materially from Fletcher's—it was stipulated that Dryden