419:
771:
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27:
298:. Two or three of the last-named parts are original. Her appearance during her first season in so wide a range of parts seems to indicate more experience than she can be shown to possess. Two Miss Vaughans, who might have been her sisters, but neither of whom could have been herself, had previously been heard of.
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origin may be traced in her professional characteristics, declares that she "never rose to the finest grade, even of comedy, but was most famous in scolds and viragos"; adds that in tragedy, though she "had a large imposing manner" (in fact, like her daughter, she was small), "she wanted grace", and
781:
General testimony shows Mrs. Pritchard to have been one of the most conspicuous stars in the
Garrick galaxy. Richard Cumberland and Dibdin give her precedence of Mrs. Cibber. Dibdin says that Cibber's remark "that the life of beauty is too short to form a complete actress" proved so true in relation
743:
A son seems to have been for a time treasurer of Drury Lane
Theatre. The début in Juliet, as Miss Pritchard, of Mrs. Pritchard's daughter, Hannah Mary, at Drury Lane on 9 Oct. 1756, caused a sensation. She had an exquisitely pretty face, and had been taught by Garrick. She played her mother's parts
726:
Mrs. Pritchard, whose fortune appears to have been imperilled, if not impaired, by the action of her brother, Henry
Vaughan, who was an actor, led a wholly blameless and reputable life; a portion of her considerable estate was left her by a distant relative, a Mr. Leonard, an attorney of Lyons Inn.
817:
Mrs. Pritchard had, however, an imperfect education, and other critics give less favourable accounts of her. On one occasion
Johnson declared her good but affected in her manner; another time he calls her "a mechanical player". In private life he declared she was "a vulgar idiot; she would talk of
135:
850:
represented her as Lady
Macbeth, with Garrick as Macbeth. This, like Hayman's separate portrait, has been engraved. All three pictures are in the Mathews collection at the Garrick Club. A fourth portrait, representing her as Hermione, was painted by
826:
all through. "She no more thought of the play out of which her part was taken than a shoemaker thinks of the skin out of which the piece of leather out of which he is making a pair of shoes is cut". Campbell, who could not have seen her, says in his
418:
241:
of Coffey. She was one of the company known as the "Comedians of his
Majesty's Revels", the more conspicuous members of which had seceded from Drury Lane. During her first season she was seen as Dorcas in the
569:
shouted 'murder,’ and Mrs. Pritchard, unable to finish the scene, retired from the stage. The termination was altered; but
Johnson seems never to have forgiven a woman he associated with his misfortune.
822:, but when she appeared upon the stage seemed to be inspired by gentility and understanding". "It is wonderful how little mind she had", he once said, affirming she had never read the tragedy of
748:, Beatrice, Marcia, Isabella, Miranda, Horatia, Perdita, &c., but lacked her mother's higher gifts, and never fulfilled expectations. Her chief successes were obtained as Harriot in
534:. She was advertised to act George Barnwell for the benefit of her husband, who was then connected with the management of the theatre, but the piece was changed. She played Oroclea in
715:
of
Kenrick. During the season of 1767–8 she gave a series of farewell performances, her last appearance taking place on 24 April 1768 as Lady Macbeth, when she spoke an epilogue by
941:
226:. She sang with great effect "Sweet, if you love me, smiling, turn". A duet between her and an actor called Salway was very popular, and she was berhymed by a writer in the
657:
on 24 Jan. 1760 the first
Constantia. On 3 Jan. 1761 she was the original Queen Elizabeth in Brookes's 'Earl of Essex,’ and on 12 Feb. the original Mrs. Oakly in Colman's
836:
says that
Garrick told Tate Wilkinson that she was "apt to blubber her sorrows". Most of this condemnation is an over-accentuation of faults indicated by Davies.
782:
to Mrs. Pritchard that she was seen to fresh admiration till in advanced age she retired with a fortune. She was held the greatest Lady Macbeth of her day (until
646:, Hermione, Countess of Rousillon, and Estifania. On 9 Oct. 1756 she played Lady Capulet to the Juliet of her daughter, Miss Pritchard, and the Romeo of Garrick.
322:
At Drury Lane, meanwhile, she played a wide range of characters, chiefly, though not exclusively, comic. The most noteworthy of these are Lady Wouldbe in
216:
She was born in 1711, and married in early life a poor actor named Pritchard. As Mrs. Pritchard she acted in 1733, at Fielding and Hippisley's booth,
1001:
573:
Her other original part, 15 April, was Merope in Aaron Hill's adaptation from Voltaire. On 24 Feb. 1750 she was the original Horatia in Whitehead's
991:
557:, which was given on 6 Feb. 1749. In this, as first produced, Irene was strangled on the stage. Audiences that accepted the suffocation scene in
528:
When in 1747–8 Garrick became patentee of Drury Lane, Mrs. Pritchard accompanied him thither, reappearing on 23 Nov. 1747 as Lady Lurewell in
731:. Mrs. Pritchard did not long survive her retirement, but died in August 1768 in Bath. A monument to her memory was placed in Poets' Corner,
762:, retired the same year as her mother, 1767–8, and, after her husband's accidental death in 1768, married a Mr. Lloyd, a political writer.
545:
In 1748–9 she played two original parts, one of which, at least, exercised an important influence on her reputation. This was Irene in
110:
44:
208:. She performed many significant Shakespearean roles and created on stage many important female roles by contemporary playwrights.
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took over the role and redefined Shakespearean theatre), her scene with the ghost being especially admired. The Queen in
457:. In January 1744 she was once more at Covent Garden, where she remained until 1747, adding to her repertory Isabella in
795:
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An undefined scheme of her husband to benefit actors is mentioned by Davies. She lived at one time in York Street,
616:
311:. At Drury Lane she remained until 1740–1, going in the summer of 1735 to the Haymarket, where she was Beatrice in
77:
37:
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painted her twice – once separately, and again (as Clarinda), with Garrick as Ranger, in a scene from Hoadley's
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The season of 1753–4 saw her in three original characters: Boadicea in Glover's tragedy so named, Catherine in
914:
John Bull, 'Palmer, John (1728–1768)’, Oxford Dictionary of National Biography, Oxford University Press, 2004
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230:, who spoke of this as her first essay, and predicted for her "a transportation to a brighter stage".
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of Ravenscroft, she first appeared at Covent Garden, where she played, among other parts, Sylvia in
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A couple of original parts stand prominently out – Dorothea to the Maria of Mrs. Clive in Miller's
272:
814:
to be played after her retirement from the stage, as she alone could have presented the Countess.
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is convinced that she was a really great genius, equally capable of the highest and lowest parts.
282:
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84:
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need not, perhaps, have been expected to be more sensitive with regard to the bowstring in
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499:, and numerous parts of corresponding importance. Her only 'creations' were Constance in
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on 3 Feb. the first Lady Medway. On 10 Dec. she was the original Mrs. Etherdown in
649:
In Home's 'Agis' on 21 Feb. 1758 Mrs. Pritchard was the first Agesistrata, and in
810:, and her Beatrice, which he preferred to Miss Farren's, and would not allow his
709:. On 5 Dec. 1767 she played her last original part, Mrs. Mildmay, the heroine of
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of Garrick and Colman, both original parts. She married, near 1762, the actor
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614:. Among other parts that she had sustained under Garrick were Lady Alworth in
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723:, written for the same occasion, but unspoken, appears in his poems.
934: This article incorporates text from a publication now in the
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790:, Estifania, and Doll Common were also among her greatest parts.
954:. Vol. 46. London: Smith, Elder & Co. pp. 407–409.
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on 19 Jan. 1763 she was the first Queen, and in Mrs. Sheridan's
453:, and was, on 17 Feb. 1743, the original Clarinda in Fielding's
691:. For her benefit on 15 March 1766 she had an original part in
20:
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The Livery Rake Trapp'd, or the Disappointed Country Lass
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Next year she returned to Drury Lane, playing Amanda in
366:, Mrs. Sullen, Monimia, Desdemona, Rosalind, Viola in
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This was soon accomplished, since she appeared at the
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806:, who knew and admired her, praises her Maria in the
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Born to Please: Hannah Pritchard, Actress, 1711–1768
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Prichard as Lady Macbeth, with Garrick. Painting by
305:, she played there, 30 April 1734, Mrs. Fainall in
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51:. Unsourced material may be challenged and removed.
595:, and 7 Feb. 1753 the first Mrs. Beverley in the
591:, on 17 Feb. 1752 the first Orphisa in Francis's
968:(London: The Society for Theatre Research, 1979)
461:, Queen Katharine, Calista, Andromache, Lady in
315:, Lady Townly, and the original Combrush in the
224:A Cure for Covetousness, or the Cheats of Scapin
699:, and on 12 April was the first Dame Ursula in
565:. The audience, however, on the first night of
449:, Jane Shore, Belvidera, and Kitty Pry in the
385:, 1 Feb. 1737. On 1 Jan. 1742, as Arabella in
585:, on 2 Feb. 1751 the first Aurora in Moore's
8:
687:. The same season saw her act Roxana in the
634:, Lady Betty Modish, Millamant, Zara in the
348:, Araminta, and afterwards Belinda, in the
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122:
661:. On 11 Dec. she was the first Hecuba in
111:Learn how and when to remove this message
362:, Lady Macduff, Anne Boleyn, Leonora in
222:, the part of Loveit in an opera called
864:
505:Papal Tyranny in the Reign of King John
381:, 6 March 1735, and Peggy in Dodsley's
258:Opera of Operas, or Tom Thumb the Great
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204:actress who regularly played opposite
483:, Mariamne, Lady Brute, Maria in the
342:, Pert, Mrs. Foresight, Berinthia in
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467:, Abra-Mulé, Lady Macbeth, Queen in
422:David Garrick and Mrs. Pritchard in
49:adding citations to reliable sources
332:, Lucy Lockit, Lady Haughty in the
831:, unjustly, that something of her
802:, especially as the Jealous Wife.
14:
336:, Doll Common, Mrs. Termagant in
951:Dictionary of National Biography
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515:, 17 Jan. 1747; and Clarinda in
383:King and the Miller of Mansfield
352:, Lady Anne, Duchess of York in
246:, Phillis (the country lass) in
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1002:English Shakespearean actresses
542:, "not acted these 100 years".
36:needs additional citations for
992:18th-century English actresses
301:Returning with the company to
260:, an alteration of Fielding's
1:
940:Knight, John Joseph (1896). "
642:, Queen Elizabeth in Jones's
599:, perhaps her greatest part.
610:, and Creusa in Whitehead's
237:on 26 Sept. 1733 as Nell in
171:1768 (aged 56–57)
441:Rule a Wife and have a Wife
411:, Mrs. Frail, and Doris in
16:English actress (1711–1768)
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798:praises her highly in the
617:A New Way to Pay Old Debts
606:, Garrick's adaptation of
493:All's well that ends well
294:, and Belina in Miller's
139:Pritchard illustrated by
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755:The Clandestine Marriage
752:of Colman, and Fanny in
744:of Lady Betty Modish in
997:English stage actresses
760:John "Gentleman" Palmer
624:, Lady Brumpton in the
608:The Taming of the Shrew
604:Catherine and Petruchio
507:, 15 Feb. 1745; Tag in
487:, Mrs. Ford, Portia in
290:, Peasant Woman in the
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719:. Another epilogue by
522:The Suspicious Husband
491:, Beatrice, Helena in
475:, Aspasia, Lætitia in
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429:The Suspicious Husband
393:The Recruiting Officer
372:The Merchant of Venice
200:, 1711 – 1768) was an
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638:, Lady Truman in the
421:
339:The Squire of Alsatia
286:, Shepherdess in the
250:, Ophelia, Edging in
746:The Careless Husband
308:The Way of the World
262:Tragedy of Tragedies
253:The Careless Husband
45:improve this article
916:accessed 9 Feb 2015
531:The Constant Couple
459:Measure for Measure
388:The London Cuckolds
317:Honest Yorkshireman
292:Burgomaster Trick'd
844:Suspicious Husband
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706:Falstaff's Wedding
540:Lover's Melancholy
489:Merchant of Venice
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328:, Mrs. Flareit in
283:The Double Gallant
276:, Hob's Mother in
60:"Hannah Pritchard"
964:Anthony Vaughan,
942:Pritchard, Hannah
812:Mysterious Mother
796:Charles Churchill
750:The 'Jealous Wife
733:Westminster Abbey
697:Irish Hospitality
567:Mahomet and Irene
553:, since known as
551:Mahomet and Irene
513:Miss in her Teens
397:The Winter's Tale
370:, and Nerissa in
330:Love's Last Shift
235:Haymarket Theatre
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712:The Widowed Wife
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679:Frances Sheridan
583:Pierre Corneille
525:, 12 Feb. 1747.
446:Love Makes a Man
424:Benjamin Hoadley
407:, Elvira in the
399:, Nottingham in
354:King Richard III
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477:Old Bachelor
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38:verification
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987:1768 deaths
982:1711 births
946:Lee, Sidney
925:Attribution
903:Knight 1896
579:Les Horaces
469:Richard III
455:Wedding Day
451:Lying Valet
437:The Relapse
403:, Queen in
345:The Relapse
244:Mock Doctor
176:Nationality
976:Categories
859:References
792:Leigh Hunt
766:Assessment
721:John Keats
663:John Delap
303:Drury Lane
273:Amphitryon
228:Daily Post
184:Occupation
71:newspapers
675:Discovery
536:John Ford
267:The Miser
808:Nonjuror
684:The Dupe
597:Gamester
588:Gil Blas
485:Nonjuror
288:Festival
101:May 2023
959:Sources
948:(ed.).
938::
824:Macbeth
800:Rosciad
640:Drummer
626:Funeral
622:Othello
593:Eugenia
559:Othello
517:Hoadley
325:Volpone
202:English
198:Vaughan
187:Actress
179:British
158: (
85:scholar
944:". In
788:Hamlet
739:Family
671:Elvira
667:Hecuba
612:Creusa
405:Hamlet
143:, 1762
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563:Irene
555:Irene
464:Comus
401:Essex
278:Flora
196:(née
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497:Cato
413:Æsop
212:Life
168:Died
160:1711
156:1711
149:Born
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