confessed, that in the additions, opinion has been too freely hazarded, and wit too often exercised at the expense of judg ment. BAKER, (THOMAS) dramatist, was the son of a very eminent attorney of the city of London, and was some time of the University of Oxford. He produced five comedies in the beginning of the 18th century; viz. "Humours of the Age," 1701; " Tunbridge Walks," 1702; "Act at Oxford," 1704; "Hampstead Heath," 1706; and" Fine Ladies Airs," 1709; all 4to. BAKER, (THOMAS) actor, was in Dublin about the year 1784, with Giordani, at Capelstreet Theatre, and acquired some applause in old men's characters, though about nineteen years of age. He then performed at Margate, &c. Dec. 10, 1789, he came out at Dru stage. The former appeared at Capel Street Theatre, Dublin, in 1784. They are now in America ---the daughter well married. BANKS, (Sen. and Jun.) actors. The father was a respectable carver and gilder in Fleet Street, but on declining business, commenced Harlequin at Sadler's Wells, and retained his situation for some time with reputation. The son followed his example, and made his debut at Covent Garden in a trifling character. He then went to Liverpool, where having met with approbation, he returned to London, and was engaged at Drury Lane. His taste for, and execution in scene-painting, renders him useful to theatres: BANNISTER, (CHARLES) actor, was born in Gloucestershire in 1738; becoming acquainted with a company then performing at Deptford, (where his father was appointed to a ry Lane, in Grub, (Cross Pur-living in the Victualling Office,) poses.) He quitted the stage, and being clever at his pen, was employed by a scrivener in the Temple. Addicted to drink, though he never appeared on the stage in a visible state of inebriation, he hastened his death; he was admitted behind the scenes, particularly as he often used his interest to procure the loan of a bed for Desdemona or a fine candlestick for Lady Macbeth. Thus he imbibed an inclination for the stage, and which happened at a public-played Romeo, Richard the house in Fleet Street, 1801. BAKER, (BERKELEY) actor at several provincial theatres, was manager of a company, particularly at a barn near Windsor, 1789, (before the New Theatre was built) where he afterwards opened a public-house, "The Merry Wives of Windsor," but his company, wives, husbands, and all, got so merry here, that the profits were not adequate to the expences, and the result was Exeunt Omnes! His wife and daughter were likewise on the Third, &c. before he was eighteen, with flattering applause. He then applied to Mr. Garrick for an engagement, which that gentleman declined, under a pretence there was no vacancy in his company but being more fortunate in his application to the Norwich manager, be performed there several seasons, and became a favourite. Being invited by Mr Foote to the Haymarket, he made his first appearance in London in Will, (Örators); the late Mr. J. Palmer having like wise made his debut in the same piece. In this character, Mr. Bannister gave imitations, and was so happy as to meet with general applause, though naturally abashed at seeing Mr. Garrick in the house. By his imitations of Tenducci and Champness he proved his abilities as a singer, and was soon after engaged at Ranelagh, Mary bone Gardens, &c. when having increased his fame, he was at length engaged by Mr. Garrick, and made his first appearance at Drury Lane, in Merlin, (Cymon). He now procured a summer situation at the Haymarket Theatre, when he was brought forward as an actor as well as a singer, and continued on these boards till his death, except a short secession, in consequence of the Royalty Theatre. Being refused an increase of salary, to which he thought himself justly entitled, he went to Covent Garden in 1782, but returned to Drury Lane in 1785, which he deserted for the Royalty Theatre in 1787-8, and became the chief object of persecution during his attachment to Mr. Pal mer. On the failure of the Royalty Theatre, he quitted London, and performed at Norwich, Edinburgh, &c. Through the negociation of his son, he was engaged again at Covent Garden, but he afterwards returned to Drury Lane, where, however, his powers being cousiderably on the decline, he did not long remain. He died in Suffolk-street, Oct. 26, 1804, a few days after his benefit at the Haymarket, and was followed to the grave by a great number of his theatrical brethren, by whom he had the good fortune to be uniformly re His spected while he lived. voice was a strong clear bass, with one of the most extensive falsettos ever heard; they were finely contrasted in a pantomime performed at the Haymarket several years ago, in which he was dressed one half like a huntsinan and the other half like a beau; in which he sung a duett, one part in the rough tone of a sportsman, and the other with the most feminine shrillness. He studied his old master Foote, and represented many of his parts with great success. No actor has ever been more cele brated for jeu d'esprits; he was fond of company, and contributed largely to conviviality. Several of his bon mots have never been published, and the majority of those which are attributed to him are mere fabrications. A specimen, however, of his ready wit will not be unacceptable to the reader. Having asked Mr. Andrews when he intended bringing forth another play, this dramatist replied, "Soon, very soon; for my muse is big, and will soon be delivered." "Well then," said Bannister, "I'll come to the groaning." Having met a thief in custody, who had stolen a bridle, "Ah, (said he) that man wanted to touch the bit." Once caught in a shower of rain, in Holborn, he took shelter in a comb-maker's, where an old man was at work. "Good Heavens! what pain you are in, sir," (said Bannister.) "Pain, I have no pain, thank God." "Yes, you must, you are cutting teeth." BANNISTER, (JOHN) actor, son of the preceding, was designed for the profession of a painter, for which he discovered an early genius; but, inspired Accord by the example of a father, and encouraged by Mr. Garrick, he resolved no longer to be a quiet painter of nature on canvas, but depict her with more animated colours on the stage. ingly he made his first appearance in Dick, (The Apprentice,) || and from his success, procured an engagement at Drury Lane. Under the tuition of Mr. Garrick he performed juvenile characters in tragedy, but having attempted a new comic character, and meeting with success adequate to his wishes, he deserted the tragic muse, and became one of Thalia's best supporters. He resigned his situation at the Haymarket Theatre to Mr. Fawcett, (for the sake of country excursions,) where he succeeded the late Mr. Edwin in several of his characters, having, through the instructions of his wife, acquired the merit he professes as a singer. In 1802-3 he succeeded Mr. Kemble as acting manager at Drury Lane, which laborious office he resigned in 1804. (See Bartley.) In the summer of the same year, he appeared again at the Haymarket, notwithstanding the manager's impracticable resolution of entertaining the public without the assistance of the winter perform and for several seasons filled the first characters of the English opera, with credit to herself and pleasure to the town. During this her success, she married Mr. Bannister, and September 5, 1791, took her leave of the stage, filling, at present, the more amiable characters of a domestic wife and a tender mother. BARCLAY, (Miss) actress, daughter of a clergyman, was early instructed in music, in which she acquired such a proficiency, that her friends suggested to her the stage. She made her first appearance in an oratorio, at the great theatre in the Haymarket, 1791, and being further instructed by a proper master, made her first appearance as an actress and singer the same year in a new opera, called "Dido," at Drury Lane, when, she acquitted herself so well, she procured an engagement. She was engaged the succeeding summer season at the Haymarket, on the secession of Mrs. Bannister but, being offended at the part of a chorus-singer being sent her, though it had been originally in the hands of Mrs. Bannister, a disagreement took place between her and the manager, which terminated in the lady's dismis sion. ; BARNARD, (Sir JOHN) was chosen one of the representatives in parliament for the city of Lon. don in 1722, which trust he continued to enjoy during six succeeding parliaments. His name we think essential to our Dramatic Biography, as in 1735, he moved for leave to bring in a bill to limit the number of playhouses, and to restrain the licentiousness of players, which was then increased to an amazing de gree: gree : the bill at this time mis ff hard, the architect, (the same Carried. As a Magistrate, he had long been watching for such information as would bring the actors at Goodman's-fields playhouse within the reach of the vagrant laws; but none was laid before him that he could, with prudence, act upon. At length, however, an opportunity offered, which he embraced : Mr. Henry Fielding, then a young barrister, without practice, a dramatic poet, and a patriot, under the extreme pressure of necessity, had, in the year 1736, written a comedy, or a farce, we may call it either, or both, intitled, "Pasquin," a dramatic satire on the times, and brought on the stage of the little playhouse in the Haymarket; which being calculated to encourage popular clamour, and containing in it many reflections on the public councils, furnished reasons for bringing a bill into the house of commons for prohibiting the acting of any interInde, tragedy, comedy, opera, play, farce, &c. without the authority of his majesty's letters patent, or a licence from the Jord chamberlain. In this bill a clause was inserted on the motion of Sir John Barnard, by which it was made penal, even with any such patent or licence, to act or represent any such interlude, &c. in any part of Great Britain, except in the city of Westminster and such other places as his majesty, in person, should reside in. Before 1737, the year in which this bill was enacted into a law, the property of Goodman's-fields playhouse had passed into the hands of Mr. Henry Giffard, who, encouraged by a subscription, pulled it down, and, under the direction of Shep who afterwards built Covent Garden Theatre) had erected a new one. This man, while the bill was pending, petitioned against it, and, in his printed case, represented the injury he was likely to sustain, all the specious arguments of the great sums he had expended on the purchase of the house, and rebuilding it, in scenes, clothes, &c. were urged with their utmost force, and his right to an equivalent stated; but all to no effect: the bill passed, and the statute is now part of the law of the land. It is true, an evasion of it was soon afterwards contrived by an advertisement of a concert, with a play given gratis, but that subterfuge was soon abandoned. The operation of this statute was two-fold it subjected theatrical representations to a licence, and limited the number of playhouses. BARRESFORD, (Mrs.)actress, maiden name Wilford, known also by the name of Bulkeley, was a pupil of Mr. Rollier, sen. at Covent Garden as a dancer in 1759, and afterwards distinguished herself in comic characters. She fell a sacrifice to dissipation, and died at Dumfries in Scotland, in 1792. BARRET, (Mr.) actor and manager of the Theatres, Norwich, Ipswich, Bury, &c. for several years; an excellent figure and a tolerable performer. He married an alderman's daughter of Norwich, with whom he latterly did not reside on good terms; having too great a tendre for a Mrs. Belfield, actress, who is since dead. He performed at the Circus in 1789, and was succeeded by Mr. Brunton in the Norwich management. C3 BAR || chanical notions; and, after make him reach the top of his BARRET, (Mr.) comedian, excellent in some small parts, as Orator Mum, Vinegar, &c. his features had a peculiar cast of saturnine acidity, well suited to his confined line. He obtained the name of Jew from his lending out small sums, from half-a-ed nothing but stage practice to crown to half-a-guinea (no more at a time) to his distressed brother sufferers, during Mossop's and Ryder's management of the Dublin Theatres, on stage pro-suggested to him by his relation perties, shirts, clothes, &c. At this time no pawnbroker had opened in Dublin, and the traffic was carried on by usurers, properly so called, from their exorbitant premium. How Barret, to whom the managers were minus, as well as to the rest, could compuss the cash, his salary and his wife's jointly not amounting to 31. per week, still remains a secret, and is, probably buried with him. He was a man of dry humour, and used often to say to his fellow comedians, "You call me Jew, but I am more a Christian than your manager." The premium he required was slight,|| and the property redeemable at any time; never forfeited. His wife was but a coarse substitute for Mrs. Heaphy in the old women. There was another Barret, in the same line, who belonged to the Theatre Royal Haymarket, and died in 1795. BARRY, (SPRANGER) actor, was born in St. Warburgh's parish, Dublin, November 20, 1719. He was the son of an eminent silversmith of that city, who bred this his eldest to the business; but an early intercourse with the theatre, with the solicitation of a remarkable handsome person, fine voice, and pleasing address, soon obliterated all me was and particular friend, the late plause 4 |