Henry+Woodward

Casey DeFrancesco ENGL452 ** Henry Woodward (1714-1777) ** Henry Woodward was a renowned European comedian and pantomime that performed during the 18th century. Beloved by his era, his legacy can best be described by author W.R. Chetwood in his book, //A General History of th////e Stage//, published in 1749:

[Woodward] is a very thriving comedian; and a very peaceable mimic…He is an excellent Harlequin, and has what most of the motley-coat gentry want, an excellent head to his heels; and if his black mask should be thrown aside for a whole age (tho’ levity will hardly lie so long obscured) yet as a just and pleasing actor in comedy, he can never want encouragement anywhere, if theatres are in use, joined to his good understanding and pleasantry, his good nature is ever conspicuous upon all proper occasions, cool in his refentments, and warm in his friendships, a man fit for the world, and the world for him, and knows how to look on fortune. (244-245)

In addition to his career in drama, Woodward was also an author himself, having written //The Beggar’s Pantomime// in 1736. However, Woodward is most notable for the plethora of roles he performed throughout his lifetime.

This page will illustrate his early life, professional career (including a timeline of his early performances), noteworthy occurrence of his life that have been recorded, the theatrical reception of his first performance in //The Beggar's Opera//, and a general discussion of how scholars view him now.


 * Early Life **

Woodward was born the eldest son of a “tallow chandler” in Sourthwark, London on October 2nd, 1714. Apprenticed to his father, whose profession concerned candle making and distributing, Woodward was sent to study at the Merchant Taylor’s School. However, // The // //Oxford Dictionary of National Biography// (//ODNC// 246) tells us that there, he soon became “noted for his quick wits." Thus, at some point during his time at the school from 1724 through 1728, historical sources agree that an unknown person introduced him to John Rich, manager of Lincoln’s Inn Field Theatre (//ODNC// 246).

Lincoln Inn Field’s Theatre was originally constructed as a functioning tennis court. However, during the time that Woodward was at Merchant Taylor’s School, the structure “perished in the Great Fire of 1666” (Donohue 5). However, at that point the court had already been used as a sort of makeshift theatre. Thus, renovations were made to have the structure actually serve as a proper theatre house: “The renovated Gibbons’s Tennis Court, in Lincoln’s Inn Fields, served Killigrew and his company, under Charles’s patronage, as the first theatre royal until May 1663” (Donohue 5).

The //ODNC// entry reports that by January 1st 1729, “[Woodward] had joined Rich’s juvenile troop,” where he was appointed several roles within the very first production of the now infamous Restoration play, //The Beggar’s Opera//. Specifically, Woodward took the roles of The Beggar, Jemmy Twitcher, and Ben Budge, as can be seen in the second printed edition of the drama published on March 27th, 1728:



At this point in time, it seems that Rich took a personal interest in Woodward, and embarked on teaching the youth acting and dancing. Subsequently, Woodward’s //ODNC// entry reports that, “From 1730 for six seasons Woodward's theatrical apprenticeship was undertaken largely at Henry Giffard's Goodman's Fields Theatre, interspersed with summertime work at various fairbooths—Henry Fielding's great booth at Southwark (1731), the Cherry Tree Garden (1732), and Bartholomew fair (1734)—as well as occasional appearances (1734) at the Haymarket Theatre.” Furthermore, //The Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800// (//BDA//), illustrates that Woodward’s entry in Goodman’s theatre was likely a result of the membership of an elder Woodward who might have been the younger Woodward’s cousin or uncle.

Various historical sources confirm that Woodward was incredibly active as a performer during this period. Important to note, however, is that, “after his appearance in //Harlequin's Contrivance// (21 April 1732) he began steadily to take on the role of Harlequin in pantomime, eventually from September 1734 assuming the sobriquet Lun, Jr. in honour of his training with Rich” (//ODNC// 247). Thus, early into his twenties, Woodward began to work in two separate careers as a performer in both comedy and pantomime.


 * Professional Career **

The following is a timeline, based upon the information recorded in the //ODNC// and //BDA//, of Woodward’s earliest performances, from 1729 to early 1734. It should be noted that most all of these performances were many times repeated.


 * Performance || Role(s) || Date(s) ||
 * // The Beggar’s Opera // || Beggar, Filch, Ben Budge || 1728 ||
 * // The Merry Wives of Winsdow // || Simple || 1730, October 30 ||
 * // The Orphan // || Page || 1730, November 24 ||
 * // The Constant Couple // || Dicky || 1730, November 28 ||
 * // The Devil of a Wife // || Second Spirit || 1730, December 30 ||
 * // The Beggar’s Opera // || Filch || 1731, January 27 ||
 * // Flora // || Dick || 1731, March 1 ||
 * // Tom Thumb // || “title role” || 1731, March 15 ||
 * // The Fashionable Lady // || Pantomime || 1731, May 4 ||
 * // Sophonisha // || A Priestess of Bellona || 1731, June 1 ||
 * // The Tempest // || Ariel || 1731, June 2 ||
 * // The Conscious Lovers // || Daniel || 1731, July 22 ||
 * // A Bold Stroke for a Wife // || Prim’s Boy || 1731, September 28 ||
 * // Tamerlane // || Haly || 1731-32 (Goodman’s Fields) ||
 * // The Mourning Bride // || Selim || ^ ||
 * // Harlequin’s Contrivance // || Harlequin || ^ ||
 * // The Mock Doctor // || James || 1732, August 4 ||
 * // The Tavern Bilkers // || First Drawer || 1732-33 (Goodman’s Fields) ||
 * // Macbeth // || Donalbain || ^ ||
 * // The Old Bachelor // || Setter || ^ ||
 * // Love Makes a Man // || Jaques || 1733-34 (Goodman’s Fields) ||
 * // The Lover’s Opera // || Clodpole || ^ ||
 * // The Double Gallant // || Supple || ^ ||
 * // The Strategem // || Gibbet || ^ ||
 * // Penelope // || Telemachus || ^ ||
 * // The Contrivances // || Taylor || ^ ||
 * // The Humorous Elections // || Soaker || ^ ||
 * // Don John // || Second Bridegroom || ^ ||

Beginning in 1735, Woodward began using two different names to differentiate himself within the field of comedy and dance. When he acted in spoken performance, he used the name Mr. Woodward. However, as noted before, in pantomime he named himself “Lun, Jr.” At this point, Woodward’s performances became so numerous that to record them all here would require more than one hundred entries in addition to those already noted.

The //ODNC// confirms that, “By the time Woodward went with Giffard's company to Lincoln's Inn Fields Theatre in 1736 he had established a firm reputation for excellence of his characterization in all styles of comedy and for virtuoso physical brio in pantomime.” No doubt then, the startling list above illustrates this “excellence.” However, also important to note is Woodward’s own writing. In December of 1736, the actor wrote //The Beggar’s Pantomime,// which is further discussed in the section: "What Scholars Know Now."

In 1739, Woodward traveled to Ireland to join a theatre house. There, he committed to several dozen new roles, and became “recognized as one of London’s most versatile young comedians” (//BDA// 248). After several successful seasons, Woodward also moved into theatre management, as from “4 through 18 August 1741 he went into partnership with the veteran showman and printer of drolls George Lee, to open, for the time of Tottenham Court Fair, the "Great Theatrical Til'd Booth near the Turnpike" (BDA 249). After this, it seems that Woodward skipped around from theatre to theatre for a while, with his name appearing on the bills of Covent Gardens, Jacob Well’s Theatre, and the theatre at Richmond, Surrey (//BDA//).

Woodward also seemed to have moved between London and Ireland several times throughout his professional career, but he returned to London for a time in the fall of 1738 to work with the “brilliant company” (//BDA// 250) at Drury Lane. From here on out, Woodward’s career consisted of a slew of performances punctuated by several rivalries between him and other performers. This particular pattern was not broken until the close of the 1757-5 season in Dublin, in which he took on the endeavor to open his own company with Sprainger Barry. This business endeavor is recorded in the historical document: “The life of John Carteret Pilkington, son to the Reverend Mr. Matthew and the celebrated Mrs. Lætitia Pilkington. Written by himself,” published in 1762. Here, the author writes “…they at once forsook him, and fabricated to an entire new play-house, which is now under the management of Sprainger Barry and Henry Woodward, Elqrs; who have each of them merit to deserve encouragement, and modesty enough to make a proper use of it” (Pilkington 108). Despite these kinds words, however, their business venture was unsuccessful, and Woodward left Dublin for the poorer.

Again, Woodward began to bounce between companies, eventually remaining at Convent Gardens for eight season up till 1770, until he decided to move once again. This move, however, was another unsuccessful venture, and Woodward returned to Convent Gardens in 1771, where he would stay and perform until his death in 1777.


 * His Feuds **

John Hill: As previously noted, Woodward’s career was marked by several feuds with fellow actors. Important to note about Woodward in particular though, is that he was so well known that one of these feuds was public enough to make it into the //Daily Paper//. In essence, Dr. John Hill, the Inspector-General of Great Britain, published an article in //Inspector//, No. 524. that described Woodward as in what can be inferred to be a less than respectable manner. In response, Woodward submitted an open letter to the //Daily Paper// shaming the man. However, given that Woodward was held in such high regard, these documents shed light on his character in such a way as simple bibliographies cannot provide.

As one can see from the left image, Woodward’s sense of sarcasm was quite obvious, as he called Hill “The Greatest of all Characters.” Furthermore, the very fact that Woodward was able to have such a letter printed illustrates his influence during the time, which was apparently enough to have material printed in a major news organ. Woodward writes on the first page of this letter: “I am, you say, the meanest of all characters --- If that therefore is true, to speak with //Propriety//; and to write in your own //Style//, would be to come down to the Denomination which your //Generosity//, //Charity//, and //Veracity// have united to bestow on me --- But I owe too much to deference and respect to my readers to blot my paper with such epithets as you use to others, or deserve yourself.”

The text to the right further demonstrates Woodward’s rather intense, sarcastic, and overall irritated tone. Here he accuses Hill of“//Jealousy//,” and to be quite frank, Woodward sounds quite confident –egotistical even – in his own talent: “’twas the fame Public, which encouraged and supported //me//.” This letter illustrates that while some people found Woodward “as a man fit for the world,” others found him incredibly abrasive. In fact, Woodward actually received an answer to his letter, written by “Rt. Hon., the Earl of […]”

In this “Answer,” as he calls it, the Earl addresses the “Theatrical Commotions” of late. Here, he takes the side of Hill, ashe writes that “far from making a proper acknowledgement of his fault, [Woodward] had the assurance to advertise a most extraordinary affidavit in one the Daily Paper: a circumstance in his situation of life highly culpable, and deserving the severest reprimand.”

This letter further reveals the context for Hill’s snub, as it would seem from the Earl’s telling of the impetus for the feud, the Inspector was commenting on some sort of incident involving Woodward and several other folk. According to this record, Woodward apparently sneered at a one Honorary Mr. F-K (name redacted), by making a sarcastic comment. Given his rhetoric in the letter addressed to Hill, this might not be much of a stretch.

In addition to the initial letter shown here by Woodward to Hill, the comedian is also believed to have written a second such letter under the pseudonym “Simon Partridge.” In this letter, Woodward appears to further insult Hill by insinuating that this cobbler, “Simon,” is in fact a better writer than Hill. This fictitious cobbler asserts that he is the shoemaker for Hill, and thus has first hand knowledge of his behaviors: "I know the Doctor toe to toe; I mend his old shoes for him, and this let me tell you has as good a //Sole//, and as good an //Understanding// as any in my Shop; and many and many a time his //Sole// wants mending, and his //Understanding// is a little battered” (6-7). From these lines we can see that Woodward was using the position of the shoemaker to remark on Hills “soul” and “understanding,” which the reader is led to believe as “battered.”

The significance here is that these documents illustrate a side of Woodward not mentioned in his biographies. Here we can see that he truly was defensive, abrasive, and utterly sarcastic.

= = = =

Lavinia Fenton: Not much scholarly work exists today on Woodward, despite his critical acclaim. His performances were numerous, but what remains of his legacy consists mostly of the records left behind that note his feuds, such as the letters shown in the above section. It is because of his ability to irritate, however, that his name shows up in the book //“Polly Peachum:” Being the Story of Lavinia Fenton (Duchess of Bolton) and “The Beggar’s Opera,”// by Charles E. Pearce. This more recent work describes in one of its chapters Woodward’s own play, //The Beggar’s Pantomime//, in which the main character is named “Polly," a reference to Lavinia Fenton's character portrayal of "Polly Peachum" from //The Beggar's Opera.// According to Pearce, Rich likely put on Woodward’s pantomime because it caused controversy. Specifically, it seemed that Lavinia Fenton was none too pleased with her character's name (with which she had become directly associated) being used for any character less respectable than she was in real life. However, at the time it was published, Woodward was writing under the name Lun Jr., and as such, Lavinia Fenton had no idea she actually knew and had worked with the author of //The Beggar’s Pantomime//. In fact, Woodward apparently wrote in his dedication a note on how “this trifling piece was meant only to promote the theatre to which I belong, I hope you will have more good nature than to imagine I designed to affront two ladies whom I am utterly a stranger to” (Pearce 269). As previously mentioned, however, Woodward did know Lavinia Fenton, which would indicate that Lun Jr. was, in fact, a true pseudonym: no one then (besides Rich of course) knew that he and Woodward were the same man.


 * Theatrical Reception **

As previously mentioned, Woodward performed in likely over one hundred different plays. To give an overview of the theatrical reception of them all would thus be impossible. Instead, this page will focus on his first performance in 1728 as Jemmy Twitcher, Ben Budge, and the Beggar in //The Beggar’s Opera.//

Some of the first reviews for the original production of //The Beggar’s Opera// were published in //The Craftsman//, a contemporary newspaper. For example, in one review published on February 3rd, 1728, it was written that, "This Week a Dramatick Entertainment has been exhibited at the Theatre in Lincoln's-Inn-Fields, entitled The Beggar's Opera, which has met with a general Applause, insomuch that the Waggs say it has made Rich very Gay, and probably will make Gay very Rich” (Hurwitz 11). The “Rich” mentioned here refers to John Rich, the manager of the Lincoln's Inn Fields theater, and the man who personally trained Woodward.

In addition, the popularity of the play can be seen through the review published in //The Daily Journal// on February 12th, 1728, which reads: “The Beggar’s Opera is continued acting at the Theatre-Royal in Lincoln-Inn-Fields, with the greatest Applause, and to an audience as numerous as ever. And we are informed, that most of the boxes are taken to the 25th night.” Furthermore, on February 17th, 1728, another review reads: "We hear that the British Opera, commonly called //The Beggar's Opera//, continues to be acted, at the Theatre in Lincoln's-Inn Fields with general Applause, to the great Mortification of the Performers and Admirers of the Outlandish Opera in the Haymarket" (Hurwitz 11).

Overall, the Beggar’s Opera was seen as a commentary on the corruption of the government and the court. In his book //The Beggar’s Opera, its Predecessors and Successors//, author Frank Kidson writes, “Everybody knew that the Court and the Government Party were corrupt, and the mere generlisation of this was nothing to complain of” (92). And yet, research into this area reveals that not all people found this commentary to be so regular. In his book //A General History of the Science and Practice of Music//, published in 1776, author John Hawkins rebuts fellow critic Dean Swift, who wrote that “this comedy exposeth with great justice that unnatural taste for Italian music among us” (315). In response, Hawkins writes that “the motive for writing this piece, and for the many acrimonious expressions and bitter inventive against statement, lawyers, priests, and others, contained in it, was the disappointment of Mr. Gay in his application for preference at court” (315).

Hawkins further notes that “//The Beggar’s Opera// had a run of fifty-three nights,” but that during this time, “the public were little aware of the injury they were doing to society, by giving countenance to an entertainment, which as been productive of more mischief to this country than any would believe at the time” (316). As such, it would seem that Hawkins took the position of critics at the time that //The Beggar’s Opera// was overall damaging to society, as it motivates inappropriate behavior:




 * How He Would Have Acted **

The final piece of this page is to bring together all of the information gathered above in order to create a picture of Woodward as a performer. As we know, he was excellent comedian and mimic. His performances were revered enough that he acted in anywhere from five to twenty different plays each year. However, in general, he had a tendency to make enemies. This proclivity for feuds would suggest that Woodward was more flamboyant than reserved, which is made evident through examples of his portraiture (taken from the //BDA//), as they appears here:

In addition, Woodward’s //ODNC// entry noted that the actor had “virtuoso physical brio.” Here, “brio” means vigor and vivacity, which along with the description of “physical,” would indicate that Woodward was indeed a very flamboyant performer. Thus, the author here was likely noting Woodward’s heavy use of physical comedy. This comes as no surprise given that he was an acclaimed pantomime, but it also suggests that what he learned through this aspect of the theatre likely influenced his work as an actor. Therefore, I would propose that as a performer, Woodward was most probably most well known for his physical comedy, which was a result of his “physical brio,” flamboyant personality, and training as a pantomime.

** Works Cited **


 * Primary Sources: **

// An Answer to Henry Woodward, Comedian. With Some Occasional Remarks on the Greek and Roman Stage. By the Rt. Hon. the Earl of * //. London: N.p., 1753. //Gale//. Web. 22 Oct. 2016.

Chetwood, W.R. //A General History of the Stage; (more Particularly the Irish Theatre) from Its Origin in Greece down to the Present Time. With the Memoirs of Most of the Principal Performers, That Have Appeared on the Dublin Stage, for the Last Fifty Years. With Notes, Antient, Modern, Foreign, Domestic, Serious, Comic, Moral, Merry, Historical, and Geographical, Containing Many Theatrical Anecdotes; Also Several Pieces of Poetry, Never before Published. Collected and Digested by W. R. Chetwood, Twenty Years Prompter to His Majesty’s Company of Comedians of the Theatre Royal in Drury-Lane, London.// Dublin: N.p., 1749. //Gale//. Web. 22 Oct. 2016.

// Daily Journal //, (London, England) 12 February 1728; Issue 2210. //17th-18th Century Burney Collection Newspapers.// Web. 31 Oct. 2016.

Partridge, Simon [Henry Woodward]. //A Letter to Henry Woodward, Comedian, Occasion’d by His Letter to the Inspector. By Simon Partridge, the Facetious Cobler of Pall Mall. And Son to the Late Mr. Partridge, Famous for His Dispute with Isaac Bicker Staff.// London: N.p., 1753. //Gale//. Web. 31 Oct. 2016.

Gay, John. //The Beggar’s Opera. As It Is Acted at the Theatre-Royal in Lincolns-Inn-Fields. Written by Mr. Gay. The Second Edition: To Which Is Added the Ouverture in Score; and the Musick Prefix’d to Each Song.// London: N.p., 1728. //Gale//. Web. 22 Oct. 2016.

Hawkins, John. //A General History of the Science and Practice of Music//. London: Printed for T. Payne and Son, 1776. Print. History of Music ; Reel 47, Item 722.

// The Life of John Carteret Pilkington, Son to the Reverend Mr. Matthew and the Celebrated Mrs Lætitia Pilkington. Written by Himself. To Which Is Added, Never before Printed, A Collection of Letters, Which Passed between the Late Lord KGsbH and Mrs. Pilkington. // The second edition. Dublin: N.p., 1762. //Gale//. Web. 22 Oct. 2016.

// Songs, Chorusses, &c. As They Are Performed in the New Entertainment of Harlequin’s Jubilee, at the Theatre Royal in Covent-Garden. // London: N.p., 1770. //Gale//. Web. 22 Oct. 2016.

// Weekly Journal or British Gazetteer, // [London, England], 30 March 1728; Issue 149. //17th-18th Century Burney Collection Newspapers.// Web. 31 Oct. 2016.

Woodward, Henry//. A Letter from Henry Woodward, Comedian, the Meanest of All Characters; (see Inspector, No. 524.) to Dr. John Hill, Inspector-General of Great-Britain, the Greatest of All Characters; (see All the Inspectors.)//. The second edition. [London]: N.p., 1752. //Gale//. Web. 22 Oct. 2016.


 * Secondary Sources: **

Cave, Richard Allen. “Woodward, Henry.” //Oxford Dictionary of National Biography//. Oxford University Press: 2004-16. Web. 22 Oct. 2016.

Donohue, Joseph W., ed. //The Cambridge History of British Theatre//. Vol. 2. Cambridge (GB): Cambridge UP, 2004. Print. The Cambridge History of British Theatre.

Highfill, Phillip H. et al. “A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800.” Southern Illinois University Press: Carbondale and Edwardsville, 1993. Web. 22 Oct. 2016.

Hurwitz, Nathan. //A History of the American Musical Theatre: No Business Like It//. Routledge, 2014. Print.

Kidson, Frank. //The Beggar’s Opera, Its Predecessors And Successors//. Cambridge: 1922. Web. 22 Oct. 2016.

Pearce, Charles E. //“Polly Peachum”: Being the Story of Lavinia Fenton (Duchess of Bolton) and “The Beggar’s Opera.”// Brentano’s, 1913. Print.