but Reddish was, at first, negligent; and, afterwards, deranged, and they never were produced. VERBRUGGEN. VERBRUGGEN was so passionately fond of acting "Alexander the Great," that instead of Verbruggen, in the dramatis persona, to many plays, he was called Mr. Alexander. Verbruggen was so warm of temper, that he had the temerity to strike an illegitimate son of Charles II., behind the scenes of Drury-lane. After so daring an insult, he was told that if he did not ask the nobleman's pardon, he must act no more in London. To this he consented, on conditions that he might express himself in his own terms; and, coming on the stage, dressed for the part of Oroonoko, having first acknowleged that he had called the Duke of St. A. a son of a we, added—“ It is true, and I am sorry for it." THEATRICALS IN THE TIME OF CHARLES THE SECOND. PREVIOUS to the Restoration of Charles II., no woman was admitted on the stage, but the female characters were personated by young men in female costume. The following anecdote, re lated by Colley Cibber, will give a tolerable idea of the ridiculous distress which occasionally arose from the absence of the now most attractive ornaments of the theatre. The King coming to the house rather before his usual time, found the dramatis persona not ready to appear; when his Majesty, not choosing to have as much patience as his good subjects, sent one of his attendants to inquire the cause of the delay. The Manager, knowing that the best excuse he could make to the " merry Monarch" would be the truth, went to the Royal box, and plaiuly told his Majesty, that the Queen had not yet shaved. Charles, good humouredly, accepted the apology, and laughed heartily until the male Queen was effeminated, and the curtain drawn up. BENSLEY THE TRAGEDIAN, AND THE SCOTCH OFFICER. MR. Bensley, before he went on the Stage, was a captain in the army. One day, while lounging in the park, he met a Scotch officer, who had been in the same regiment. The latter was happy to meet an "old companion of the war," but his chivalrous notions made him ashamed to be seen with a player; he, therefore, sagaciously hur 124 ried Bensley into an unfrequented coffee-house, when he asked him very gravely," how he could disgrace the corps, by turning play-actor." Bensley replied, that he by no means considered it in that light; that, on the contrary, an actor, who conducted himself creditably, moved in the first circles, and kept the best of company.-" Weel, weel," interrupted his friend," and what maun you get by this business of yours ?" "I now, (answered Bensley,) get about a thousand ayear."-"What, man! a thousand a year!, (exclaimed the astonished Native of the Land of Cakes;) Corps?" Hae you ony vacancies in your ROSS, THE CELEBRATED GEORGE BARN WELL. WHEN Mr. Ross performed the character of George Barnwell, in 1752, the son of an eminent merchant was so struck with certain resemblances to his perilous situation, arising from the arts of a real Milwood, that his agitation brought on a dangerous illness, in the course of which he confessed his error, was forgiven by his father, and was furnished with the means of repairing the pecuniary wrongs he had privately done his employer. Mr. Ross used to declare, though he never knew his name, or saw the individual, to his knowledge, he received, for nine or ten years, at his benefit, a note, sealed up, with ten guineas, and these words :-"A tribute of gratitude from one who was highly obliged and saved from ruin, by witnessing Mr. Ross's performance of George Barnwell." THE GLOBE THEATRE. THIS ancient Theatre, memorable, above all others, for its connexion with Shakspeare, who first acted in it, and afterwards became one of the proprietors, was situated on the Bankside, nearly opposite to the end of Queen Street. It was originally a bear garden; but, about the year 1590, when the refined amusement of bear baiting began to yield, in fashionable estimation, to the attractions of the resuscitated comedy, it was converted into a Theatre; and, in the year 1596, the proprietors had the old edifice pulled down, and a more commodious building erected in its stead. The form of the new Theatre was hexagonal, externally; but Malone conjectures, that it was a rotunda within and the following passage from Shaks peare's" Henry the Fifth" seems to confirm this opinion. "Can this cock-pit hold The vasty fields of France? or can we cram That did affright the air at Agincourt?" The area was very spacious, and open above; the partial roof was covered with rushes; and, on the top of it, a silk flag, the usual sign of places of amusement, was displayed. In the front of the building was a figure of Hercules supporting a Globe, under which was written Totus Mundus Agit Histrionem, whence the building derived its name. The Globe was a Summer Theatre, and the exhibitions took place in the day-time. This seems to have been the most frequented house until about the year 1604 or 1605, when the private Theatres, as they were called, especially the Black-friars, began to attract from the public ones the more fashionable portion of the audience, and left them, almost entirely, to the citizens and to the rabble. Before this time, the resort to the Theatres on the Bankside, of which the Globe was the principal, was so great, that we are told by Taylor, the Water-poet, that, “about the year 1596, the players began to play on the |