The Case of Mrs. Clive | Page 2

not do half so many things well;
she was a better romp than any I ever saw in nature."[4] Part of the half
she could not do well were tragedy roles, attested to by Thomas Davies,
who comments on her performances as Ophelia in Hamlet and Zara in
_The Mourning Bride_: "Of Mrs. Clive's Ophelia I shall only say, that I
regret that the first comic actress in the world should so far mistake her
talents as to attempt it." And on Zara, "for her own benefit, the comic
Clive put on the royal robes of Zara: she found them too heavy, and,
very wisely, never wore them afterwards."[5] Part of the half she could
do well is noticed, once again, by Davies: particularly adroit and
distinguished in chambermaid parts, Mrs. Clive
excelled also in characters of caprice and affectation, from the
high-bred Lady Fanciful to the vulgar Mrs. Heidelberg; in country girls,
romps, hoydens and dowdies, superannuated beauties, viragos and
humourists; she had an inimitable talent in ridiculing the extravagant
action and impertinent consequence of an Opera-singer--of which she
gave an excellent specimen in Lethe. Her mirth was so genuine that
whether it was restrained to the arch sneer, and suppressed half-laugh,
or extended to the downright honest burst of loud laughter, the
audience was sure to accompany her [my punctuation].[6]
Mrs. Clive's stature as a comic actress would, then, seemingly make her
a prize for Rich or Fleetwood, but they did their best to thwart her
career and happiness at their theaters.
I suspect that their motivation in so doing was fear that her temper, her
influence with other actors and her audiences, and her strong loyalty to
her profession would hinder their legislated power to control absolutely
London theaters, players, and audiences in 1743. Not much
investigation is required to see Mrs. Clive at her clamoring best, at

various times head to head with Susannah Cibber, Peg Woffington,
Woodward, Shuter, or Garrick. Her letters to Garrick show that as late
as the sixties she was quite capable of vitriol when she felt that she or
her friends were unjustly treated. Tate Wilkinson was surely correct in
describing her as "a mixture of combustibles; she was passionate, cross,
and vulgar," often simultaneously.[7] If this were the case in mere
greenroom tiffs or casual correspondence, how the ire of "the Clive"
must have been excited by the cartelists, who did their utmost to keep
her out of joint and almost out of sight.
In 1733, Fielding, who furthered Mrs. Clive's career by writing and
editing parts of his plays for her and publicly praising her as a woman
and as an actress, wrote the following encomium on her professional
integrity in his "Epistle to Mrs. Clive," prefatory to _The Intriguing
Chambermaid_:
The part you have maintained in the present dispute between the
players and the patentees, is so full of honour, that had it been in higher
life, it would have given you the reputation of the greatest heroine of
the age. You looked on the cases of Mr. Highmore and Mrs. Wilks with
compassion, nor could any promises or views of interest sway you to
desert them; nor have you scrupled any fatigue ... to support the cause
of those whom you imagine injured and distressed; and for this you
have been so far from endeavouring to exact an exorbitant reward from
persons little able to afford it, that I have known you to offer to act for
nothing, rather than the patentees should be injured by the dismission
of the audience.[8]
Fielding is, of course, referring to the 1733 dispute in which Mrs. Clive
(and Macklin) among the principal players stayed with the ineffective
proprietor of Drury Lane, John Highmore. Jealous that Highmore and
not he gained control of Drury Lane after former shareholders either
died or sold out, Theophilus Cibber demanded, among other things,
that Highmore share profits with his players rather than pay fixed
salaries. He then led the Drury Lane players in revolt in the autumn of
1733 to the New Haymarket where they played without a license until
March of the 1733-1734 season, at which time they returned to Drury
Lane under the new management of Fleetwood. The actors at least
partially won this battle, and although Highmore tried to have the
vagrant act enforced, the players returned to Drury Lane unscathed.

With Highmore gone, a period of uneasy peace obtained. The players,
however, were not to win so easily the next dispute, the one that took
place after the passage of the licensing act.[9]
Mrs. Clive's decision to stay with Highmore rather than defect was
probably made because "two women--Mrs. Wilks, the widow of her
[Kitty's] old theatrical idol, and Mrs. Booth--were in he direction of the
theater.[10] But in light of Fielding's words