John+Moody

Mitchell Wilson Dr. Laura Rosenthal English 452 November 3, 2016 **__ John Moody __** It is estimated that performer John Moody was born in 1727, and according to his tombstone he died in 1812 at the age of eighty-five (Highfill, et al 289). The issue of Moody’s national identity is a complicated one.
 * __Biographical Highlights__**

While certain sources consider Cork, Ireland Moody’s birthplace, others place his home city as London (Highfill et al 289). The issue of Moody’s national identity is further complicated by a stint he spent in Kingston, Jamaica. In his book, //The Jamaican Stage, 1655-1900//, Errol Hill writes that Moody went to Jamaica in 1745 and proceeded to organize several productions. As such, it is easy to how one might confuse his nationality, since he was presumably born in Ireland and periods of his life living in both the Caribbean and on the British Isle. In particular, Moody and his fellow actors performed Shakespeare (Hill 21). Among the plays that the group performed were //Hamlet//, //Romeo and Juliet//, and //King Lear//; Moody played the lead roles of Hamlet, Romeo, and Lear in each. As such, it would appear that, at least in the context of the roles he took on in Jamaica, Moody was most often cast as the principal actor in productions he took part in (Highfill et al 289). While all of the aforementioned plays are all tragedies, Moody’s later roles would have more of a defining impact on his career. That said, Moody is said to have played “heroes and lovers” in particular (Highfill et al 289). Hill establishes another role for Moody at this theatre; in his book, he refers to him as an “actor-manager,” which gives the impression that in addition to being an actor, he also worked at the theatre in and administrative capacity (Hill 21). Hill credits Moody with a desire to bring publically funded theatres to Jamaica; specifically, he suggests a plan “to erect a theatre in Kingston by public subscription” (Hill 21). Moody then returned to England in order to headhunt performers to work with him at the theatre. Once Moody successfully recruited his company, he would return to Jamaica to found “a theatre in Harbour Street,” where he and his group would perform until Moody made his final trip back to England (Hill 23).

After returning to England circa 1758, Moody soon found himself approached by Garrick to act with the Drury Lane company (Highfill et al 289). Later, in the winter of 1763, Thomas Moody would stop an Irish militant, in the midst of the “Half-price riot,” from burning down the theatre where he had been performing (Highfill et al 289). In an ironic turn of events, he was made to issue a public apology for his actions (Highfill et al 289). //The Biographical Dictionary of Actors// points to Thomas Davies’ book, //Memoirs of the life of David Garrick, Esp. Interspersed with characters and anecdotes of his theatrical contemporaries//, as containing an account of the events (Highfill et al 289). In Davies’ account of events “Moody was called upon to apologize for the offence he had given, in stopping a madman’s hand who was going to set fire to the playhouse” (Davies 5-6). Moody issued a sardonic apology, lampooning the would-be arsonists the would-be arsonists. Specifically, he mocked their accents by adopting “the tone and language of a low-bred Irishman” (Davies 6). One might wonder if his ability to mock the tone of an Irishman had anything to do with the previously established allegation that he hailed from Ireland himself.

Digressions aside, the audience members did not respond well to his speech. They were so angry that “they loudly and vehemently insisted that he should go down on his knees, and ask their pardon” (Davies 6). As one might imagine, Moody responded poorly to this request. He returned their ire with a remark that is apparently too radical to put into writing uncensored. Davies quotes him as saying “I will not, by G--” before storming off stage (Davies 6). That Moody would employ a phrase worth censoring in a public sphere speaks to a degree of audacity in his personality. In spite of this controversial outburst, Moody’s professional life with the acting company was largely unaffected. Garrick, who was Moody’s superior, is noted as having been “so pleased with his behavior, that he received him with open arms, and assured him…he should be paid his income” (Davies 6). In the 1770s, Moody would help to establish “The Drury Lane Actors Fund,” eventually becoming the fund’s chairman (Highfill et al 294). He would later resign from the chairmanship before dying in December of 1812 at the age of 85 (Highfill et al 294).


 * __On Stage__**

As previously stated, sources speculate that Moody’s acting career began in Jamaica. However, one article about Moody’s life, published by //Walker’s Hibernian magazine// expresses uncertainty this point (“An Account of Mr. John Moody, of Drury Lane Theatre” 398). Between his time working in Jamaica and his time at Drury Lane, he acted with the Norwich Company; taking on the roles of “Hamlet, Richard the Third, Castalio, Jaffier, Young Bevil, and other capital characters” (“An Account” 398). This article further notes a disjuncture between the roles he took while performing with the Norwich Company and those for which he would later become famous in London. These remarks imply that he would not become famous as “the principal tragedian” or for his typical roles as both “heroes and lovers” (“An Account” 398). This source also describes in greater detail Moody’s performance of Irish roles. In fact, “so faultless was his manner of performing Irish characters at this time considered, as to draw from Mr. Churchill the following eulogium in ‘The Rosciad’” (“An Account” 398). In short, the poet Churchill was so impressed, with Moody’s work that he saw fit to write a poem wherein he venerates Moody’s acting abilities. The relevant passage from the poem, excerpted in the aforementioned discussion of Moody’s life, reads: And sense awaken’d scorns the antient joke Taught by thee, Moody, we now learn to raise Mirth from their Follies, from their Virtues praise. (Quoted in “An Account” 398).

Since “Mirth” is defined as “pleasurable feeling” and “enjoyment” and these feelings are derived from “Follies,” “the quality or state of being foolish” one can surmise that the speaker is able to take pleasure in something that he had previously been unable to (//“//mirth”; “folly”). According to Walker’s Hibernian magazine, “These lines Mr. Moody…always considered as his passport to the Temple of Fame,” which indicates a clear degree of contentment with the writer’s assessment of him; Moody was so content that he “professe[d] himself indifferent to the praise or censure of inferior writers (“An Account” 398).

According to Dublin University Magazine, Moody truly came into his own when he played the role of Sir Callaghan O’Bralaghan in //Love à la Mode// in the December of 1769; it was with this role that Moody “established himself as the Irishman of the company” (“Irish Actors of the Last Century” 13). His role in //Love à la Mode//, the role of “Teague” from the play //Committee//, and the role of Captain O’Cutter in //Jealous Wife// all further underscored Moody’s posture as the company’s preeminent Irishman (“Irish Actors” 13). The newspaper article makes reference to a phrase in //The Dramatic Observer//, which venerated Moody’s abilities, particularly for his role as Teague (“Irish Actors” 13). The exact quotation from the book reads “Mr. Moody, the best Teague that ever the stage produced, and an actor of merit in other views” (Gentleman 492). Charles Harold Gray in //Theatrical Criticism in London to 1795// writes that the //Jealous Wife//, as performed in 1760’s theatre season, marked one of the only notable productions during that period of time. He also writes that “the magazine published a review which praised the play and the audience for approving the play” (Gray 181). While this production was not necessarily one in which Moody acted, one might speculate that, because the reference to his role in the //Jealous Wife// is situated between the two dates 1759 and 1761 in the Dublin University Magazine article, the entry in Gray’s book may refer to the production that Moody was involved in (“Irish Actors”13). Many of the roles in which Moody played Irishman fell under the genre of farce (“Irish Actors”13). Farce is a genre that hinges upon the principle that “its sole object [is] to excite laughter” (“farce”). This article’s contentions regarding the roles that brought Moody fame might lead one to think that the farcical parts he played had more to do with his success than his earlier referenced roles of “heroes and lovers.” Moody would continue to play Irishman even into the 1770s, at which point Moody came into conflict with his fellow actor Barry over the role of Major O’Flaherty in a play called the //West Indian//. Garrick had to consider, in his decision, his fear “that [Moody] might not be sufficiently the gentleman, and [Barry] not comic enough” (“Irish Actors” 16). Ultimately, Garrick selected Moody to pay O’Flaherty. Garrick cited that Barry had relatively more to lose if he gave a bad performance and that he was afraid that Barry was not adept enough at comedy for the part (“Irish Actors” 16) Garrick’s decision would ultimately prove to have been the correct one, as Moody “succeeded beyond all expectation” in this part (“Irish Actors” 16).

These previous anecdotes and excerpts from reviews demonstrate both the type of actor that Moody was and the way that critics generally viewed his performances. By conflating this information with aspects of his biography, one can come to imagine the type of stage presence he might have held, as well as, the roles that he might have excelled in. In my opinion, his precocious actions, in particular when he stopped the Irish militant from burning down the theatre, lead me to think that he was likely at least somewhat daring in his theatre roles. Furthermore, his audacity in poking fun at the audience members who demanded that he apologize for these actions suggests that he had both a commanding stage presence and a biting wit, two skills that would have truly lent themselves to successful performances in comedies. His wit is demonstrated through this quotation taken from his apology: “He was very sorry that he had displeased them by saving their lives in putting out the fire” (Davies 6). It is also true Garrick hired Moody after seeing him perform in //The Beggar’s Opera// as Lockit (Highfill et al 289). One might speculate, based upon Garrick’s earlier confidence in Moody’s comedic abilities, that it was Moody’s comedic skill that would earn him a place in Garrick’s company. However, having not yet read //The Beggar’s Opera for class//, I am not able to say for certain.
 * __Speculation on how he would perform on stage__**

The qualities for which Moody is venerated throughout the discussion of the aforementioned sources, primarily his comedic skill, lead me to believe that he would excel in several roles in comedies that we have read as a class thus far. One production that he might have done well in is //The Country Wife//. In particular, I would cast Moody as either Sparkish or Horner because of his affinity for playing roles in comedies. Because of his facetious apology, detailed earlier, one might consider him a good fit to play either the flamboyant Sparkish, or the witty and somewhat devious Horner. In regards to the roles he played in the aforementioned farces, I also imagine that he would have imbued his performances with the same humor and perhaps even the sarcasm of his farcical apology to the militants who wanted to burn the theatre. In addition, one might also contend that he may have used the same “low-bred Irishman” accent that from his apology in the Irish roles through which he became famous (Davies 6). This course of action would make sense in the context of a farce, since a lower class accent might be used for comic relief, or to specifically lampoon the Irish in general. Works Cited "An Account of Mr. John Moody, of Drury-Lane Theatre." //Walker's Hibernian magazine, or Compendium of entertaining knowledge, May 1785-Dec.1811//, 1790., pp. 398-400 .

Davies, Thomas. Memoirs of the life of David Garrick, Esq. Interspersed with characters and anecdotes of his theatrical contemporaries. The whole forming a history of the stage,which includes a period of thirty-six years. By Thomas Davies. ... Vol. Volume 2. Maryland College Park. 1 Nov. 2016 .

"farce, n.2." //OED Online//. Oxford University Press, September 2016. Web. 2 November 2016.

"folly, n.1." //OED Online//. Oxford University Press, September 2016. Web. 2 November 2016.

Gray, Charles Harold. //Theatrical Criticism in London to 1795//, Benjamin Blom, 1964.

Gentleman, Francis. //The Dramatic Censor; or Critical Companion//. Vol. 2. London: Printed for J. Bell; and C. Etherington, at York, 1770. Print. retrieved via ECCO.

Highfill, Philip H., Kalman A. Burnim, and Edward A. Langhans. //A Biographical Dictionary Of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel In London, 1660-1800//, vol. 10. Carbondale, Ill: Southern Illinois University Press, 1984. //eBook Collection (EBSCOhost)//. pp 288-296. Web. 2 Nov. 2016.

Hill, Errol. “Theatres of the Slave Era.” //The Jamaican Stage 1655-1900//, The University of Massachusetts Press, 1992, pp. 14-40.

"IRISH ACTORS OF THE LAST CENTURY.-DELANE, RYAN, MOODY." //Dublin University Magazine, 1833-1877//, vol. 62, no. 367, 1863., pp. 13-18 http://search.proquest.com/docview/6639484?accountid=14696.

"mirth, n." //OED Online//. Oxford University Press, September 2016. Web. 2 November 2016.