derful’ by Tate Wilkinson. No less conspicuous triumph had attended his Parolles.
Woodward's inducement to leave Drury Lane had been a tempting but, as it proved, delusive, offer from Spranger Barry [q. v.] Barry had counted on the support of Macklin in opening a new theatre in Dublin. Macklin proving recalcitrant, he turned to Woodward, who had saved 6,000l., and Woodward, after some hesitation, entered on the scheme at the persuasion of Barry, whom Rich declared capable of ‘wheedling a bird from the tree and squeezing it to death in his hand.’ On 22 Oct. 1758 Crow Street Theatre, built by subscription, was opened under the new management, Woodward speaking a prologue but not acting. On 28 Jan. 1760 Foote's ‘Minor’ was produced. Woodward, as the original Mrs. Cole, acted with so much coarseness as to damn a piece that afterwards made a success in London. The only other parts he played in Dublin in which he had not been seen in London were Young Philpot in the ‘Citizen,’ Squire Groom in ‘Love à-la-Mode,’ and Humphrey Gubbin in the ‘Tender Husband.’ But the Dublin management was not a success, and by 1762 Woodward had lost half his savings. In this year the joint-managers, who in 1761 had opened a new theatre in Cork, quarrelled, recriminated, and dissolved partnership, Woodward returning to London (for some incidents of the estrangement of Woodward and Barry see C. McLoughlin, Zanga's Triumph, or Harlequin and Othello at War, 1762, 8vo).
On reappearing in London at Covent Garden in ‘Marplot,’ on 5 Oct. 1763, Woodward, who had spoken in Dublin many prologues of his own writing, delivered one entitled ‘The Prodigal's Return;’ this occasioned a vexatious charge of ‘ingratitude’ when in 1764 he revisited Dublin. At Covent Garden he played some of the parts in which he had been seen in Ireland, and was the first Careless in Murphy's ‘No One's Enemy but his Own,’ 9 Jan. 1764; a part, probably Lord Lavender, in Townley's ‘False Concord,’ 20 March, Young Brumpton in the ‘School for Guardians,’ 10 Jan. 1767; Careless in Colman's ‘Oxonian in Town,’ 7 Nov.; Lofty in Goldsmith's ‘Good-natured Man,’ 29 Jan. 1768; Marcourt in Colman's ‘Man and Wife,’ 7 Oct. 1769; and Captain Ironsides in Cumberland's ‘Brothers,’ 2 Dec. He had also been seen as Justice Shallow, the Humorous Lieutenant, Sir John Brute, Lord Ogleby, and Sir Brilliant Fashion, and had produced in 1766 his own ‘Harlequin Doctor Faustus.’ On 19 Nov. 1770, as Marplot in the ‘Busybody,’ he made under Foote his first appearance in Edinburgh, playing a round of characters. On his homeward journey he acted under Tate Wilkinson in York. Still under Foote, he was on 26 June 1771 at the Haymarket the first Sir Christopher Cripple in the ‘Maid of Bath.’ Back at Covent Garden, which he did not further quit, he was the first Tardy in ‘An Hour before Marriage,’ 25 Jan. 1772; General Gauntlet in the ‘Duellist,’ 20 Oct. 1773; Tropick in Colman's ‘Man of Business,’ 31 Jan. 1774; Captain Absolute in the ‘Rivals,’ 17 Jan. 1775; Sir James Clifford in Kelly's ‘Man of Reason,’ 9 Feb. 1776; and FitzFrolick in Murphy's ‘News from Parnassus,’ 23 Sept. He had also been seen as Ranger, Jodelet in his alteration of the ‘Man's the Master’ (1775, 8vo) on 3 Nov. 1773, and Lord Foppington in the ‘Man of Quality.’ His ‘Harlequin's Jubilee’ was given at Covent Garden in 1770. His ‘Seasons,’ founded on the ‘Spectator,’ is included in Mrs. Bellamy's ‘Apology’ for her life. Woodward's last appearance was on 13 Jan. 1777, when he played Stephano in the ‘Tempest.’ On 18 March he was too ill to act for his benefit. On 17 April he died at his house, Chapel Street, Grosvenor Place, and was buried in the vaults of St. George's, Hanover Square. Mrs. Woodward predeceased her husband, and Woodward spent the last ten years of his life with George Anne Bellamy [q. v.] To her he left the bulk of his estate, which, however, she never succeeded in obtaining.
Woodward has had few equals in comedy. His figure was admirably formed and his expression so composed that he seemed qualified rather for tragedy or fine gentlemen than the brisk fops and pert coxcombs he ordinarily played. He was unable, however, to speak a serious line with effect, but so soon as he had to charge his face with levity, and to display simulated consequence, brisk impertinence, or affected gaiety, he was the most engaging, consequential, and laughable of actors. Churchill, in ‘The Rosciad,’ tried to depreciate him as ‘a speaking harlequin, made up of whim,’ but the stroke was ineffective. He was quite unequalled as Bobadil, a part, says Dr. Doran, that died with him. His Mercutio has never in report been surpassed. In Marplot he ‘was everything the author or spectator could wish.’ Sir Joseph Wittol, Brisk, Tattle, Parolles, Osric, and Lucio were parts in which he was unequalled, and his Touchstone and Sir Andrew Aguecheek were much approved. In Trappolin, Captain Flash, Clodio, Sosia Duretête, Lissardo, Captain Mizen, Brass, and Scrub, his deportment was too studied. Sometimes indeed he over-acted. It was
