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    The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts
    The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts
    The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts
    Ebook90 pages59 minutes

    The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts

    By Frederick Reynolds

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    About this ebook

    This comedy, which borders on burlesque, was Reynold's first and was produced on stage in 1789. It was popular at the time and well-received. It is set in Bath and is what could be called a comedy of manners.
    LanguageEnglish
    PublisherGood Press
    Release dateApr 25, 2021
    ISBN4064066130800
    The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts

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      Book preview

      The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts - Frederick Reynolds

      Frederick Reynolds

      The Dramatist; Or, Stop Him Who Can! A Comedy, in Five Acts

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4064066130800

      Table of Contents

      REMARKS.

      DRAMATIS PERSONÆ.

      THE DRAMATIST.

      ACT THE FIRST.

      ACT THE SECOND.

      ACT THE THIRD.

      ACT THE FOURTH.

      ACT THE FIFTH.

      AS PERFORMED AT THE

      THEATRE ROYAL, COVENT GARDEN.

      PRINTED UNDER THE AUTHORITY OF THE MANAGERS FROM THE PROMPT BOOK.

      WITH REMARKS

      BY MRS INCHBALD.

      LONDON:

      PRINTED FOR LONGMAN, HURST, REES, ORME, AND BROWN,

      PATERNOSTER ROW.

      Edinburgh

      :

      Printed by James Ballantyne and Co.

      REMARKS.

      Table of Contents

      Plays of former times were written to be read, not seen. Dramatic authors succeeded in their aim; their works were placed in libraries, and the theatres were deserted.—Now, plays are written to be seen, not read—and present authors gain their views; for they and the managers are enriched, and the theatres crowded.

      To be both seen and read at the present day, is a degree of honour, which, perhaps, not one comic dramatist can wholly boast, except Shakspeare. Exclusive of his, scarcely any of the very best comedies of the best of former bards will now attract an audience: yet the genius of ancient writers was assisted by various tales, for plots, of which they have deprived the moderns; they had, besides, the privilege to write without either political or moral restraint. Uncurbed by law or delicacy, they wrote at random; and at random wrote some pages worthy posterity—but along with these, they produced others, which disgrace the age that reprints and circulates them.

      It might be deemed suspicious to insinuate, that those persons, perhaps, who so vehemently exclaim against modern dramas, give up with reluctance the old prerogative of listening to wit and repartee, which would make the refined hearer of the present day blush, and the moral auditor shudder.

      To those who can wisely bear with the faults of their own time, nor think all that is good is gone by, the representation of the present comedy will give high entertainment; particularly in those scenes in which Vapid is concerned.—Reynolds could hardly mistake drawing a faithful portrait of this character, for it is said—he sat for himself.

      Yet those, who expect to be highly delighted with The Dramatist, must bring with them to the theatre a proper acquaintance with the stage, and also of its power over certain of its votaries.

      If attraction, if bursts of applause, and still less equivocal approbation, bursts of laughter, constitute perfect success to a comic writer, Mr Reynolds, in this, as well as in other of his comedies, has been preeminently successful.

      In this comedy, however, and, perhaps, in one or two more he has written, there is an obstacle to his independent merit as an author—an obstacle which too many dramatic writers willingly place in their path to lasting reputation. He has written for one particular actor to support his play—Lewis—more worthy to be thus considered than almost any other performer: but here his very skill gives the alarm—for Lewis possesses such unaffected spirit on the stage, a kind of vivid fire, which tempers burlesque with nature, or nature with burlesque, so happily, that it cannot be hoped any other man will easily support those characters written purposely for him.

      Be that as it may—when Reynolds can no more enliven a theatre by his Dramatist, this comedy will grow dull in excellent company—for Congreve's Way of the World was hissed, it is said, from a London stage, the last time it was acted, for insipidity.

      DRAMATIS PERSONÆ.

      Table of Contents

      THE

      DRAMATIST.

      Table of Contents

      ACT THE FIRST.

      Table of Contents

      SCENE I.

      The Grove.—

      Lady Waitfor't's

      House.

      Enter

      Marianne

      , and

      Letty

      , from the House.

      Mari. But I tell you I will come out—I didn't come to Bath to be confined, nor I won't—I hate all their company, but sweet Miss Courtney's.

      Letty. I declare, Miss Marianne, you grow worse and worse every day, your country manners will be the ruin of you.

      Mari. Don't you talk about that, Letty—It was a shame to bring me up in the country—if I had been properly taken care of, I might have done great things—I might have married the poet I danced with at the ball—But it's all over now.—I shall never get a husband, and, what's worse, my aunt did it on purpose.—She ruined me, Letty, that nobody else might.

      Letty. How you talk!—I hope Miss Courtney hasn't taught you all this?

      Mari. No,—she's a dear creature,—she has taught me many things; but nothing improper, I'm sure.

      Letty. Pray, has she taught you why she never plays

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