By Philip H. Highfill Kalman A. Burnim Edward A. Langhans
Read Online or Download A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800. Volume 2 PDF
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Extra info for A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800. Volume 2
On 22 June 1720 she acted Louisa in Cibber's Love Makes a Man at Coignand's Great Room. She shared a benefit with Mrs Heron at Drury Lane on 26 May 1721, when Steele's The Funeral was played, but her role is unknown. Her other roles at Drury Lane during this earlier period included Leonora in The Mourning Bride (17 April 1722), Miss Prue in Love for Love (for her benefit shared with Wright on 22 May 1722), Dorinda again in The Tempest (7 January 1723), Arabella in The Committee (for her benefit shared with Thurmond, the dancing master, on 13 May 1723), Lady Grey in Theophilus Cibber's Henry VI (5 July 1723), and Widow Lackit in The Scornful Lady (for her benefit, shared with Mrs Heron on 8 May 1724).
Genest suggests 20 April 1749 as the date for this dramatic event. George Anne was, indeed, in the bills as Lady Fanciful in The Provok'd Wife for that night. She was also in the bills, however, for harriet in The Man of Mode on 22 April, for Imonida in Oroonoko on 3 May, and for Anne Bullen in Henry VIII on 4 May. She and Metham eloped to Yorkshire where on 17 December 1749 she gave birth to his son George, a circumstance which delayed her appearance at Covent Garden until 23 January 1750, when she played Belvidera.
That season she also attempted Lady Macbeth for the first time in London on 10 December 1757, to Barry's Macbeth, causing the Theatrical Review to take umbrage at what it regarded as gross miscasting, at the same time providing an informative assessment of Mrs Bellamy's powers and charms at this point in her career: Her talents lie chiefly to the pathetic; she has strong sensations of the tender; habit has not yet steeled her heart, nor dried her eyes of the precious fluid. She has besides in her looks, in the scenes of distress, a soft wildness, which commands pity; but her action is not clear of affectation; her motions are too much prepared and studied; they favour too much of the looking-glass.