Samuel Foote - Initial Theatrical Ventures

Initial Theatrical Ventures

Foote's first training for the stage came under the tutelage of Charles Macklin. By 1744, when they appeared onstage together, Macklin had made a name for himself as one of the most notable actors on the British stage, after David Garrick. His appearance as Shylock in Shakespeare's The Merchant of Venice at the Drury Lane Theatre in 1741, mesmerized London audiences. Dismissing the conventional comedic approach to the character, Macklin played the character as consummately evil. Following his debut, George II reportedly could not sleep, while Georg Lichtenberg described Macklin's interpretation of Shylock's first line—"Three thousand ducats"—as being uttered "as lickerously as if he were savouring the ducats and all they would buy." Following less than a year of training, Foote appeared opposite Macklin's Iago as the titular role in Shakespeare's Othello at the Haymarket Theatre, 6 February 1744. While his first appearance was unsuccessful, it is noted that this production was produced illegally under the Licensing Act of 1737 which forbid the production of plays by theatres not holding letters patent or the production of plays not approved by the Lord Chamberlain. In order to skirt this law, the Haymarket Theatre held musical concerts with plays included gratis.

Following his unsuccessful London appearance, Foote spent the summer season in Dublin at the Theatre Royal, Smock Alley where he found his first success. Returning to England, he joined the company at the Theatre Royal, Drury Lane which at that time included such noted actors as Peg Woffington, David Garrick and Spranger Barry. There he played comic roles including Harry Wildair in Farquhar's The Constant Couple, Lord Foppington in Vanbrugh's The Relapse and most notably, the playwright, Bayes in Villiers' The Rehearsal. It was in this role that Foote publicly showed his gift of mimicry. Borrowing from David Garrick's interpretation of the role, Foote used this role to mock many leading contemporaries.