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He raved, whined, grinned, stared, stamped, and rolled his eyes with incredible velocity, and all in the right place according to his cue, but in so extravagant and disjointed a manner, and with such a total want of common sense, decorum, or conception of the character as to be perfectly ridiculous.
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Cobham had some resemblance in appearance and stature to Kean, being dark, with flexible features, and about five feet five inches in height. In spite of
Hazlitt's unfavourable verdict, he was a fair actor, a little given to rant, and to so-called and not very defensible 'new readings.' In the
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The 'Theatrical
Inquisitor' (April 1816), on the other hand, says of his performance that 'it was good very good,' and censures the audience for taking a cowardly advantage and condemning him before he was heard. The performance was repeated with some success on 22 April 1816, and Cobham then
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the two actors met once more, Kean playing
Othello, and Cobham Iago. The reception of Kean on this occasion by the public, south of the Thames, was unfavourable. A full account of the scene of Kean's indignation and Cobham's speech to the audience appears in
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It is there also said that 'the modern stage affords few efforts of genius superior to his acting in the last scene of "Thirty Years of a
Gambler's Life."' A coloured print of Cobham as Richard III was published in Dublin, presumably in 1821.
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When playing at Oxford, Cobham, with his wife, was engaged by
Sampson Penley for the theatre in Tottenham Street, where he appeared with much success as the eponymous Marmion in a dramatisation by
62:, Hertfordshire. He subsequently played in country towns, taking every part from leading tragedian to harlequin. At Salisbury he married Miss Drake, an actress of the Salisbury Theatre.
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the principal characters of tragedy. After Warde dropped out, he played, in the memorable engagement of Kean in July 1822, Richmond, Iago, Edgar in Lear, and the Ghost in Hamlet.
47:. His father died young, and was apprenticed by his mother to Joseph Aspin the printer, a cousin. He became a reader and corrector for the press, and came into contact with
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147:'Dramatic Magazine,' ii. 210, he is placed in respect of genius above all actors of the day except Kean, Young, Macready, and Charles Kemble.
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Early in his career Cobham played at
Woolwich, at the Navy Tavern, Glenalvon to the Young Norval of Kean. Subsequently, at the
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In his later years, Cobham concentrated on the London theatres south of the . He appeared as Parker in
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163:'s The Mutiny At The Nore in 1830 at the Pavilion Theatre about the
256: This article incorporates text from a publication now in the
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276:. Vol. 11. London: Smith, Elder & Co. pp. 158–159.
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Cobham first appeared as an amateur in Lamb's
Conduit Street as
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35:(1786–1842) was a British actor.
305:19th-century English male actors
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110:In 1817, Cobham appeared at the
107:disappeared from the West-end.
25:Thomas Cobham, in character as
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262:Knight, John Joseph (1887). "
207:UK public library membership
43:Cobham was born in 1786 in
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264:Cobham, Thomas (1786-1842)
300:English male stage actors
126:Reputation and rivalry
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141:Life of Charles Kean,
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