As the generous proposals of the proprietors of the two greatest playhouses in this Kingdom were kindly accepted and encouraged, in relation to each of them acting a play for the sole purpose of erecting a new monument to the memory of Shakespeare in Westminster Abbey, and as the curious original monument and bust of that incomparable poet, erected above the tomb that enshrines his dust in the Church of Stratford-upon-Avon, Warwickshire, is through length of years and other accidents become much impaired and decayed, an offer has been kindly made by the judicious and much esteemed Mr. John Ward and his company to act one of Shakespeare’s plays, vizt., “Othello; or, The Moor of Venice” (in the Town Hall) at Stratford, on Tuesday, the ninth of this instant, September, 1746, the receipts arising from which representation are to be solely appropriated to the repairing of the original monument aforesaid.

Then follows a “copy of an old play-bill at the time of repairing and beautifying Shakespeare’s monument, with the Rev. Joseph Greene’s remarks on the performers. The printed bill was drawn up by Greene himself, and somewhat corrected by Mr. John Ward, grandfather of the present celebrated Mrs. Siddons (MSS. penes Mr. George).” The annotations by Greene give some suggestions of the quality of the players.

The part of Othello to be performed by Mr. Ward.

Iago by Mr. Elrington (a young man, acts well).
Cassio Mr. Redman (a middle-aged man, too indifferent in acting).
Brabantio Mr. Woodward (an elderly man; some things well, others wretchedly).
Montano Mr. Butler (an old man; comic parts very well).
Roderigo Mr. Butcher (a young man, low humour pretty well).
Gratiano Mr. Bourne (an elderly man, low humour very well).
Doge of Venice by Dts.
Desdemona by Mrs. Elrington (a second wife, but young; a very agreeable actress).
Emilia Mrs. Ward (a middle-aged woman, a good actress).

With several Entertainments of singing between the acts by Mrs. Elrington and Mrs. Wilson[112] (Mrs. Elrington’s voice is rather more agreeable than Mrs. Wilson’s, but Mrs. Wilson has most judgment in music).

It is therefore humbly wished that such persons as have a taste for the inimitable thoughts, the sublime expressions, the natural and lively descriptions and characters of that great genius, and consequently a value for his memory, will encourage the proposed method of perpetuating it by attending the play at that juncture for the laudable purpose of rebeautifying his venerable monument and effigies.

N.B.—The money received on this occasion is to be deposited in the hands of the churchwardens.

In these days of Shakespeare Memorial Schemes, Shakespeare Societies, and Shakespeare Exhibitions, it is well to remember the simple aims and methods of eighteenth-century Memorial Committees in their early proceedings, and take warning from the results of delay, the causes for which are not clearly explained. It was not the fault of the players that there was even so much delay as there was.

By the following copies from Greene’s MSS. it appears “that some disputes arose between the cashier-churchwardens for 1746, and the contributors towards repairing Shakespeare’s Monument, which reparation did not take place till 1748. Meetings took place, and forms were proposed for the churchwardens’ signatures to compel the cashier to pay the money to the artist when he had completed his undertaking.”