Mary Bulkley

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Mary Bulkley (* 1747 or 1748 , probably in London , † December 19, 1792 in Dumfries , Scotland ) was an English dancer and comedic actress of the 18th century. She has appeared in a variety of theaters, mainly the Covent Garden Theater , Theater Royal (Dublin) , Theater Royal (Edinburgh) , Theater Royal Haymarket and the Shrewsbury Theater. She starred in all of Shakespeare's comedies, as well as in some of his tragedies. She played Hamlet at least twice. She also appeared in many other contemporary comedies.

Mrs. Bulkley (1780)

She was considered a beauty and her talent was praised. She married George Bulkley at the age of 19 and later Captain Ebenezer Barresford and had several affairs. Her career was quite successful, but towards the end and because of her lifestyle, she was gradually shunned. Bulkley died impoverished.

youth

Mary Bulkley (1776)

Her father was Edward Wilford († 1789), a civil servant and the treasurer of the Royal Opera House (Covent Garden). Since her uncle (by marriage) was also the theater owner, John Rich , Mary grew up "in some comfort" within a theater environment. In her late twenties she was considered beautiful, but “couldn't sing”.

Life, marriage and affairs

Mrs. Bulkley (1777)

On August 9 or 16, 1767, she married George Jackson Bulkley (1742–1784). He was a violinist in the Royal Opera House orchestra and came from Yorkshire . George Bulkley was "grateful" and "useful" but "dull". Mary had at least three children, all of whom were born during her affair with singer and comedy actor James William Dodd (ca.1740–1796) (Mary Elizabeth, 1768–1859, George Wilford, (1769–1844), William Fisher 1771–1810)

As a result of the affair with Dodd at the King Street Theater in Birmingham , a scandal broke out. The wife of Dodds died and the audience's tolerance for the bereaved affair waned. Nevertheless, Mary went to Dublin with Dodd in 1774, but received bad reviews ("Some recent transactions had excited strong Prejudice against them.") That resulted in financial losses for both of them, so Mary decided to return home to her husband for a while. However, she soon left him to live with Dodd. She worked successfully in 1779 with Tate Wilkinson , the director of several theaters, which were grouped under the name Yorkshire Circuit . Also at this time she caused a scandal when it became known that she was living with the harlequin John Banks in Scotland and in 1782 with the actor John (or James) Brown Williamson († 1802).

After her husband died in 1784, she married Captain Ebenezer Barresford four years later, on July 22, 1788 . From 1791 she began to consume more alcohol ("drinking heavily"). Presumably alcoholism was also involved when her carriage overturned on Edinburgh's North Bridge in 1785. Due to the resulting pain, she was unable to perceive her performance the following evening. She has been described as "old, sickly and with a very red face". She died at the age of 44 on September 19, 1792 in "dire financial circumstances" in the Scottish city of Dumfries , where she was buried in the church cemetery of St Michael's Church - "not far from the place where Burns is".

Career

Mary Bulkley was a member of the theater company of the Royal Opera House at Covent Garden between 1761 and 1780 (or 1781) , but made her dancer debut there in 1758 at the age of 10. She pursued this until 1765, when she first appeared on stage as a comedy actress at the age of 18. In 1769 she was involved in a horse show, which u. a. at Curragh Racecourse, near Kildare , Ireland. She assisted a Mr. Hyam who "could drink a glass of wine while standing upright on two galloping horses".

Appearances (selection)

Royal Opera House (Covent Garden)

  • 1765, as Miranda in The Busie Body , (by Susanna Centlivre, 1709)
  • 1768, as Miss Richland in The Good-Natur'd Man , ( premiered by Oliver Goldsmith )
  • 1773 as Constantia Hardcastle in She Stoops to Conquer (by Oliver Goldsmith, premiere)
  • 1775 as Julia Melville in The Rivals (by Richard Brinsley Sheridan , premiered).

She also starred in all of Shakespeare's comedies. However, these were adapted to the taste and language of the time. She also played the tragic heroine Cordelia in King Lear and the Portia in The Merchant of Venice .

Theater poster from 1779 (Covent Garden)

The premiere of the piece She Stoops to Conquer received a “great applause”; it is "the first new comedy in the theater for years". Mary Bulkley played the characteristically questionable and eccentric Constantia Hardcastle and also performed the epilogue . However, the song The Humours of Ballamagairy was omitted because Bulkley could not sing. The author Oliver Goldsmith was also present during rehearsals for the premiere, as were the critic and poet Samuel Johnson and the painter Joshua Reynolds . There was an argument on stage between Bulkley and Ann Catley about who was allowed to perform the epilogue. Goldsmith suggested that this afterword be rewritten so that they could both read it. However, the director of the theater George Colman decided that Bulkley should recite the epilogue.

Appearances with Dodd in Dublin and Shrewsbury

James William Dodd (1779)

On May 29, 1774, Mary arrived in Dublin with her lover Dodd. Her first engagement was Beatrice in Much Ado About Nothing at the Theater Royal . In the Irish newspaper Sanders's News-Letter the piece was announced as a "revival". When the Shakepeare piece was deliberately kept short, a farce was added called Miss in her Teens , in which Bulkley also participated. A few days later, both Bulkley and Dodd played in The Clandestine Marriage (by George Colman and David Garrick , 1766) and the farce The Citizen (by Arthur Murphy, 1761). In 1775 and 1776 she was seen in various performances at the Shrewsbury Theater. 1775 in Jane Shore (by Nicholas Rowe , 1714), The English Tars in India ( author unknown ) The Country Girl (by David Garrick, 1766) and The Life and Death of Julius Caesar (by William Shakespeare, 1599) an 1775 Criticism published in the Shrewsbury Chronicle describes the performance as fundamentally well received and that Mr. Dodd and Mrs. Bulkley in the play, as well as the farce, always showed very satisfactory and excellent skills as comedians, which led to general satisfaction. "They played in 1776 in Richard III (by William Shakespeare, 1592) and in a farce called "Bon Ton or High Life Above Stairs" (comedy by David Garrick, 1775)

Back at Covent Garden

Between 1776 and 1778, Pictures of Mary Buckley appeared in the British Theater , a publication by John Bell. However, on the other hand, she was once hissed out by the audience in the 1779–1780 season when it became public knowledge that she should have gone to bed with the son of her long-time lover. She then interrupted the Merchant of Venice , with whom she played the role of Portia , to reply to the audience: 'As an actress, she always did her best to please the public. And with regard to her private life she asked to be excused '("As an actress she had always done her best to oblige the Public; and as to her private character, she begged to be excused"). After that, however, her star began to decline and she performed less frequently at Covent Garden.

During the 1783–1784 season she was once again hissed out on stage because of her escapades. Nonetheless, her attractiveness and talent made it possible to offset the displeasure of the moralists and also received “poems of praise”.

Performances with John Banks in Edinburgh

It was probably around 1781 when she arrived in Edinburgh with John Banks. When Williamson came to Edinburgh that same year, he caught her attention. Banks then challenged Williamson and knocked him down in the locker room, but this did not diminish Bulkley's affection for Willamson.

Joint appearances with Williamson in Edinburgh

The Oxford Dictionary of National Biography writes that "public displeasure followed Mary Bulkley to Scotland," but that did not seem to discourage her. When she arrived in January 1782, a dispute arose with the director of the Theater Royal in Edinburgh , Jackson, about what role she should play. She wrote a long open letter to the Caledonian Mercury (Scottish newspaper between 1720 and 1867) soliciting public support. Jackson responded a month later with a long, detailed reply, accompanied by an up-to-date theater poster in which Bulkley's name was no longer mentioned, supplemented by a note that he did not want to take any more notice of her letters. This ended in a wild exchange of more open letters in late April, this time between Bulkley's lovers Williamson and Jackson. It was about payments and trust ("credit"), Williamson gave Mary Bulkley as his wife. In the same year Bulkley was actually able to play together with Williamson at the Royal Theater.

  • Wonder, a Woman Keeps a Secret (Comedy by Susanna Centlivre, 1714)
  • Three Weeks After Marriage (Farce by Arthur Murphy, 1764).
  • The Constant CoupleA Constant Couple, or A Trip to the Jubilee ( George Farquhar , 1699)
  • The Rivals (by Richard Brinsley Sheridan , 1775)
  • The Maid of the Oaks (by John Burgoyne , 1774)
  • To Englishman in Paris (by Samuel Foote , 1753) with the couple's minuet .
  • On March 23, 1784, she played the role of Hamlet very successfully .

In April 1785, she was still playing in Edinburgh, but without Williamson.

  • The Clandestine Marriage (by George Colman and David Garrick, 1766)
  • The Jealous Wife (by George Colman the Elder, 1761)
  • A Trip to Scarborough (by Richard Brinsley Sheridan, 1777)
  • The Critic (by Richard Brinsley Sheridan, 1779)
  • Belles Have At Ye All , an epilogue by Thomas Covey.
  • Rule a Wife and Have a Wife, (by John Fletcher , 1624)
  • Deuce Is In Him. (Farce by George Colman the Elder , 1764)
  • Wonder, a Woman Keeps a Secret (Comedy by Susanna Centlivre, 1714)
  • The Sultan or A Peep into the Seraglio (by Isaac Bickerstaffe, 1775)
  • Hamlet (William Shakespeare, 1602)
  • Rule a Wife and Have a Wife, (by John Fletcher , 1624)
  • School For Scandal (by Richard Brinsley Sheridan, 1777)
  • A Trip to Scarborough (by Richard Brinsley Sheridan, 1777)
  • Three Weeks After Marriage (Farce by Arthur Murphy, 1764)
  • Belles Have At Ye All , an epilogue by Thomas Covey
  • Deuce Is In Him. (Farce by George Colman the Elder , 1764)

From 1788 again with Williamson:

  • Much Ado About Nothing (William Shakespeare, 1599)
  • The Sultan or A Peep into the Seraglio (by Isaac Bickerstaffe, 1775)
  • Provok'd Husband (by John Vanbrugh and Colley Cibber , 1728)
  • Tender Husband (by Richard Steele , 1705)
  • The Wonder: A Woman Keeps a Secret (Comedy by Susanna Centlivre, 1714)
  • Belles Have At Ye All , an epilogue by Thomas Covey
  • The Maid of the Oaks (by John Burgoyne, 1774)
  • The School of Women (by Molière , 1662)
  • Young Quaker (by John O'Keeffe, 1784)
  • Deuce Is In Him. (Farce by George Colman the Elder, 1764)
  • Jamie's Return,, a dance, along with a minuet by Williamson and Bulkley.

Appearances under the name Mrs. Barresford

During this time Williamson was often mentioned on the posters in Edinburgh along with Bulkley. After they remarried, however, she soon appeared as Mrs. Barresford between 1789 and 1791. She was nearing the end of her life and was probably already ill, but apparently worked regularly and always received commendations from Intendant Jackson.

Theater Royal, Edinburgh
  • 1789 The Clandestine Marriage (by George Colman and David Garrick, 1766)
  • 1789 The Citizen .
  • The English Merchant (by by George Colman, the Elder, 1767)
  • The Pannel (by John Philip Kemble , 1788)
  • The Heiress (by John Burgoyne, 1786)
  • All in the Wrong (by Arthur Murphy, 1761)
  • The English Merchant (by George Colman, the Elder, 1767)
  • The Beaux 'Stratagem (by George Farquhar, 1707)
  • The Critic (by Richard Brinsley Sheridan, 1779)
  • The pannel

In 1790 she played Hippolyta in The Tempest ,

  • the Fatima in Cymon (opera by Michael Arne, libretto by David Garrick, 1767)
  • Lady Gayville in The Heirness (by John Burgoyne, 1786)
  • the Lady Lardoon in the farce The Maid of the Oaks , which also included the minuet by Williamson and Barresford
  • The Brothers (by Richard Cumberland , 1784)
  • Three Weeks After Marriage (Farce by Arthur Murphy, 1764)
  • and she spoke the epilogue to Vimonda (by Andrew Macdonald).

In 1791 she first appeared as Lady Macbeth . At the end of the piece she danced her famous minuet with Mr. Aldridge.

  • That same evening she played a fine lady in the farce Lethe , or Aesop in the Shade (by David Garrick, 1740).
  • I'll Tell You What (by Elizabeth Inchbald , 1785)
  • The Miser (by Molière, 1668)
  • Hamlet (by William Shakespeare, 1602), as Queen
  • Three Weeks After Marriage (Farce by Arthur Murphy, 1764)
  • The Fashionable Lover (by Richard Cumberland ), with her famous minuet
  • Tit For Tat or, Comedy and Tragedy at War (by Charlotte Charke, 1742)
St Michael's in Dumfries , where Bulkley's grave is located

Last appearances 1780–1792

During her time at the Edinburgh Drama, she was hired for the summer seasons at the Theater Royal Haymarket . She succeeded in 1782 and in the winter of 1783–1784 even briefly to appear at the Theater Royal Drury Lane . At the Royal Opera House she appeared again from 1789-1790. In 1784 she worked with traveling actors in Shrewsbury. John Jackson, Manger of the Theater Royal of Edinburgh and Glasgow, gave the impoverished actress a saving follow-up engagement. She worked in the ensemble of the Theater Royal until 1791, when Williamson was also deputy director there. It was signed for the 1792 season, but it is not known whether it also appeared in that year. After her death, Williamson performed in continental Europe and the USA , albeit with little success.

Web links

Commons : Mary Bulkley  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b c d e f g A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800 in the Google book search
  2. ↑ a b c d e f g h i j k l John Levitt: Oxford Dictionary of National Biograph . Bulkley nee Wilford; other married name Barresford, Mary ( oxforddnb.com ).
  3. ↑ James Boswell: Life of Samuel Johnson . ( gutenberg.org ). This included a quote from Oliver Goldsmith , online at: The Stage . In: She Stoops to Conquer , July 18, 1884, p. 17 column 3. 
  4. ↑ Stamford Mercury , Thursday, August 20, 1767, page 2, column 2: On Sunday last
  5. ^ S. Bladon: Theatrical biography, or, Memoirs of the principal performers of the three Theater Royals . 1772 ( worldcat.org ).
  6. ↑ England births and baptisms 1538-1975 ODM P00157-1 / 845241
  7. ↑ Index entry . In: FreeBMD . ONS. Retrieved January 19, 2019. Deaths Sep 1844 Bulkley George Wilford Greenwich 5 172
  8. ↑ England births and baptisms 1538–1975 England EASy I04146-3 / 1595986/3
  9. ↑ William Fisher Bulkley, a West Indian merchant, married Mary Ann Carter on April 9, 1802 in St Mary's Lambeth. He died in Guadeloupe in 1810. (IGI)
  10. ^ R. Jenkins: Memoirs of the Bristol stage . ( hathitrust.org - first edition: WH Somerton, 1826).
  11. ↑ The Routledge Anthology of Restoration and Eighteenth-Century Drama, Chapter: Dodd, James William (1740? - 1796), by Kristina Straub in the Google book search
  12. ↑ An historical view of the Irish stage from the earliest period down to the close of the season 1788, by R. Hitchcock in the Google book search
  13. ↑ Memoirs of his own life, by Tate Wilkinson in the Google book search
  14. ↑ The wandering patentee, or, A history of the Yorkshire theaters from 1770 to the present time, Volume 4, by T. Wilkinson in the Google book search
  15. ↑ Hereford Journal , Thursday July 31, 1788 p. 3, column 4: Married, Capt Eben Barresford in the east country trade, to Mr Bulkley, late of Covent Garden
  16. ↑ Caledonian Mercury , Monday January 10, 1785, p.3 Column 2: Edinburgh
  17. ↑ a b The Routledge Anthology of Restoration and Eighteenth-Century Drama by Kritina Straub (2017) in the Google book search
  18. ↑ Manchester Mercury , Tuesday June 6, 1769 p.4 Column 3: Horsemanship, Mr Hyam and Mrs Bulkley
  19. ^ Newspaper Archive, "Dublin Mercury" of September 12, 1769, p. 1 column 3
  20. ↑ Victoria Joynes: Into the eighteenth century, Shakespeare in performance . Shakespeare Birthplace Trust. May 6, 2016.
  21. ↑ Leeds Intelligencer , Tuesday, March 23, 1773 p.4 Column 3: Theatrical intelligence, She Stoops to Conquer at Covent Garden
  22. ^ The Stage - Friday, July 18, 1884 p.17 column 3 and p. 18 column 1: She Stoops to Conquer
  23. ↑ Illustrated London News , Saturday, October 31, 1896 p.8 Column 2-3: Chapter XII
  24. ↑ Saunders's News-Letter , Monday, May 30, 1774 p.1 Column 3: Dublin, June 1st, New garden
  25. ↑ Saunders's News-Letter , Friday June 3, 1774, p. 1 column 4: Theater Royal, Crow-Street
  26. ↑ * Saunders's News-Letter , Wednesday June 8, 1774 p.1 Column 3: On Monday last, Mr. Dodd
  27. ↑ Saunders's News-Letter , Friday, June 10, 1774, p. 1 column 4: Theater Royal
  28. ↑ Shrewsbury Chronicle , Saturday August 26, 1775. p.3 Column 4: For the benefit of Mr Dodd and Mr Wright
  29. ↑ Shrewsbury Chronicle , Saturday, August 12, 1775, 3 column 2: Shrewsbury August 12
  30. ↑ Shrewsbury Chronicle , Saturday September 7, 1776, 3 column 4: For the benefit of Mr Dodd and Mrs Bulkley
  31. ↑ Shrewsbury Chronicle , Saturday, September 7, 1776, 5 column 4: For the benefit of Mr Dodd and Mrs Bulkley
  32. ^ The Ipswich Journal , Saturday, January 24th, 1778, p.4 Column 4: Bell's British Theater All details of the editions printed so far, including a list of all author portraits from 1–81
  33. ^ The Ipswich Journal - Saturday, August 16, 1777, p. 4 Column 4: The Double Gallant The Ipswich Journal - Saturday, December 13, 1777, p. 4 Column 4: Bell's British Theater Both articles contain all plaques up to 1777, nos . 1-81
  34. ^ The Ipswich Journal , Saturday, December 6, 1777, p. 4, column 2: Bell's British Theater
  35. ^ Image in John Bell's British Theater , in the British Museum
  36. ^ A b Rebecca Wright: The Georgian Theater Audience: Manners and Mores in the Age of Politeness, 1737-1810 . 2014, p. 52 ( sas.ac.uk [PDF] first edition: Institute of Historical Research).
  37. ↑ Caledonian Mercury , Wednesday, January 30, 1782. P.3 Column 2: Letter from M. Bulkley
  38. ↑ Caledonian Mercury , Saturday, February 2, 1782, page 1, column 1: To the public
  39. ↑ Caledonian Mercury , Wednesday, May 1, 1782, page 1, column 1: To Mr Williamson
  40. ↑ https://www.britishnewspaperarchive.co.uk/viewer/bl/0000045/17820128/004/0001 Caledonian Mercury , Monday, January 28, 1782, p. 1 column 1: Theater Royal
  41. ^ Caledonian Mercury , Monday, April 29, 1782, p. 1, column 1, Theater Royal
  42. ↑ Caledonian Mercury , Monday, April 22, 1782 p.1 column 1: Theater Royal
  43. ^ A b c J. Jackson: The history of the Scottish stage . Bulkley nee Wilford; other married name Barresford, Mary ( google.com - first edition: 1793).
  44. ↑ Caledonian Mercury , Monday, April 25, 1785, page 3, column 2: Theater Royal
  45. ^ Caledonian Mercury , Saturday, April 23, 1785, p. 1, column 1: Theater Royal
  46. ↑ Caledonian Mercury , Wednesday, May 4, 1785, p. 1 column 1: Theater Royal, Mrs Bulkley's night
  47. ↑ Caledonian Mercury , Monday, May 2, 1785, page 1, column 1: Theater Royal
  48. ↑ Caledonian Mercury , Saturday, May 7, 1785 p.1 Column 1: Theater Royal
  49. ↑ Caledonian Mercury , Thursday April 17, 1788, p.1 Column 1: Theater Royal
  50. ↑ Caledonian Mercury , Thursday April 24, 1788, p.1 Column 1: Theater Royal
  51. ^ Caledonian Mercury , Saturday, April 19, 1788, p. 1, column 1: Theater Royal
  52. ↑ "How admirably Mr King is supported by Mrs Barresford's performance - her merits as an actress are universally allowed; and, for my own part, I cannot say that ever I saw her in any character she did not support according to my most sanguine expectations . Mr King's Sir Peter, and her Lady Teazle , was as complete a piece of acting as one could see within the walls of a Theater. " ( Caledonian Mercury , 1789) in Caledonian Mercury , from Saturday April 18, 1789 p.1 Column 4: "Edinburgh"
  53. ↑ Caledonian Mercury , Monday April 6, 1789 p.1 column 1: Theater Royal
  54. ↑ Caledonian Mercury , Monday, April 27, 1789, page 1, column 1: Theater Royal
  55. ↑ Caledonian Mercury , Saturday April 25, 1789, p. 1, column 1: Theater Royal
  56. ↑ Caledonian Mercury , Saturday, April 11, 1789, p. 1, column 1: Theater Royal
  57. ↑ Caledonian Mercury , Monday, May 17, 1790, page 1, column 1: Theater Royal
  58. ↑ Caledonian Mercury , Thursday April 22, 1790, p.1 column 1: Theater Royal
  59. ↑ Caledonian Mercury , Thursday, April 30, 1789, p.1 column 1 Theater Royal
  60. ↑ Caledonian Mercury , Saturday, May 15, 1790, p. 1, column 1: Theater Royal
  61. ↑ Caledonian Mercury , Thursday April 14, 1791, p. 1, column 1: Theater Royal
  62. ↑ Caledonian Mercury , Saturday, May 7, 1791, p. 1, column 1: Theater Royal
  63. ↑ Caledonian Mercury , Thursday April 28, 1791 p1 col1: Theater Royal
  64. ↑ Caledonian Mercury , Thursday, May 12, 1791, p. 1, column 1: Theater Royal
  65. ↑ Memoirs of an unfortunate son of Thespis by Edward Cape Everard in the Google book search
  66. ↑ Caledonian Mercury , Saturday, November 17, 1792, p. 1 column 1: Theater Royal
personal data
SURNAME Bulkley, Mary
ALTERNATIVE NAMES Barresford, Mary (maiden name); Wilford, Mary (maiden name)
BRIEF DESCRIPTION British actress
DATE OF BIRTH 1747 or 1748
DATE OF DEATH December 19, 1792
Place of death Dumfries