By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
Volumes 3 and 4 of this monumental paintings contain complete entries for all such illustrious names as these of the Cibbers—Colley, Theophilus, and Susanna Maria—Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the more youthful, William Davenant, and De Loutherboug. yet the following are also complete entries for dozens of vital secondary figures and of stripling ones whose tales have by no means been instructed, in addition to a census (and no less than a couple of recoverable evidence) for even the main inconsiderable performers and servants of the theatres.
As within the past volumes during this distinguished sequence, the accompanying illustrations contain not less than one photo of every topic for whom a portrait exists.
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Additional info for A Biographical Dictionary of Actors, Volume 3, Cabanel to Cory: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800 ... Dictionary of Actors & Actresses, 1660-1800)
A portrait engraving of him was done by H. Meyer. Callcott, William [fl. 17901800], musician. William Callcott was the son of Thomas Callcott, bricklayer and builder, of Kensington. He was a relatively obscure figure in comparison to his more famous brothers, Dr John Wall Callcott (17661821) and Sir Augustus Wall Callcott (17791844). As legal documents concerning William do not give him the middle name of Wall (the Page 19 maiden name of his father's second wife Charlotte), his mother probably was Charlotte Urry, his father's first wife, who had married Thomas in 1750.
Sir Thomas died in 1651 and in October 1652 Dame Anne remarried, again to a friend of her former spouse: Sir William Davenant. Davenant, like Cademan before him, was a Cavalier in distress, and Dame Anne helped him to the tune of £1400, in recompense whereof Davenant married her and entered into a strange bond concerning her children in February 1654. He agreed to pay each of the boys £100 within a year and to maintain them or forfeit the £800 bond; this penalty was to be void if Sir William continued supporting the children until they received their £100 payments.
In a letter from Sheridan to Holland of 27 October 1793, Sheridan says: "I have met Mr Cabanel hereand after giving me the trouble to draw up a contract according to what I thought he at least proposed he broke off. I offered him 9 guineas a week for a year certain. ") The theatre's surviving accounts show an interesting series of payments in the first half of 1794 which demonstrate the scale of his responsibilities: for 12 March 1794 "Cabanel Buildg stage for new theatre on Acct. 130/0/0"; 15 March "Cabanel in full 8th March inclusive 102/7/6"; 28 March "Cabanel 2 weeks 22nd incl.
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