'Times' a 'fairy dance,' or a ' pas de mouchoir,' introduced by Macready in 'Hamlet.' Some Americans were sore over the pictures of their country by Mrs. Trollope and Dickens, and on the reappearance of Macready in New York, 4 Oct. 1848, a portion of the press displayed animosity against him. Macready unwisely thanked an appreciative audience for having confuted his detractors. Overt acts of hostility were committed in Philadelphia, and drew from Macready a denial that he had ever in word or deed shown hostility to Forrest, whose answer was to iterate the charges he had brought and urge his friends to leave Macready alone as a 'superannuated driveller.' Macready began an action against Forrest, and, while awaiting documents from England, went on a prosperous tour in the United States, being entertained at New Orleans at a banquet. On 7 May 1849 Macready reappeared in New York as Macbeth at the Astor Place Opera House, and Forrest played the same character at the Broadway. Macready, though received with enthusiasm by a portion of the audience, was pelted by another portion, chairs being at length thrown at him. On the persuasion of Americans Macready reappeared on the 10th in the same character, the house being guarded by posses of police. An overwhelming audience assembled, and a large crowd was without the theatre. So soon as a disturbance began the police swept on the rowdies, clearing them out of the theatre and arresting four ringleaders, who tried in their temporary confinement in the theatre to set fire to the house. The mob outside, excited by the ejection of the disturbers, and finding a supply of stones handy, bombarded the house, stones ultimately falling on the audience. Amid indescribable hubbub the piece was concluded, and Macready thanked his patrons and withdrew for ever from the American stage. While changing his dress he heard a fusillade. The troops had been called out, cavalry first, then infantry. For self-preservation they were ultimately compelled to fire, and two brass pieces loaded with grape-shot were brought out. Fortunately the mob retired, leaving the military masters of the situation. In the encounter about seventeen persons were killed. After changing clothes with one of the actors Macready, with a single companion, joined the departing audience and escaped. He was then smuggled in a carriage to New Rochelle, took the train to Boston, where he stayed ten days unmolested, and then shipped for England. Throughout this sad business Macready as usual showed himself intrepid, tactless, and self-assertive.
In June 1849 Macready arrived in England. He played in various country towns, and from 8 Oct. to 8 Dec. he was at the Haymarket, playing Macbeth, Hamlet, Lear, and Othello. On 1 Feb. 1850 he played at Windsor Castle, under Charles Kean, Brutus to Kean's Antony, Wallack's Cassius, and Mrs. Warner's Portia. This was his only appearance with Charles Kean, who sent him a courteous message and received a characteristically churlish reply. On 28 Oct. he was once more at the Haymarket, where he remained till 3 Feb. 1851. He took the last of many farewells as Macbeth at Drury Lane, 26 Feb. 1851. Phelps, who had closed his theatre for the purpose, was Macduff, Mrs. Warner Lady Macbeth, Mr. Howe Banquo. An immense audience assembled, and the brilliant scene was described with much animation by George Henry Lewes. A public dinner followed on 1 March, with Bulwer in the chair, speeches by Dickens, Thackeray, and Bunsen, and the recitation by Forster of a sonnet by Tennyson. Macready then withdrew to the house he had purchased at Sherborne, Dorset. His wife died on 18 Sept. 1852, and many of his children found premature graves. On 3 April 1860 he married Miss Cecile Louise Frederica Spencer, by whom he had a son. He then removed to Wellington Square, Cheltenham. After his retirement he often read aloud and lectured, though for the last two or three years he could not hold a book. He died at Cheltenham on Sunday, 27 April 1873, leaving a widow, a son by the second wife, and a son and a daughter, the only survivors of a large family, by the first wife. His remains were buried in Kensal Green cemetery on 4 May.
Less popular than Kean and even than Young, Macready was a favourite with the educated public and was a man of indisputable genius. 'He studied strenuously for his profession,' says Dr. Madden, 'and considered that to be a great actor it was advisable for him to become a good scholar, an accomplished gentleman, a well-ordered man, with a well-regulated mind, and finely cultivated taste (Life of Lady Blessington, iii. 478). He found many capable critics. Hazlitt, Leigh Hunt, and Talfourd saw his opening career; W. J. Fox gave, in the 'Morning Chronicle ' of 1838-9, an animated and highly eulogistic account of his Julius Cæsar, Lear, Hamlet, Coriolanus, Othello, and Prospero, and of his management; George Henry Lewes and Westland Marston deal with his later life. The opinion of these establishes his position. The fire and passion of Kean he did not possess—what actor, indeed, ever did?—but what is known as 'the Macready burst' in 'Werner' is heard of still. He had a good figure and
