Nokes was one of those actors who create a roar the moment they are seen, and make people ache with laughter.
These were among the older performers in Portugal Street. When Congreve took a share in the theatre, some others had joined it, and become celebrated, two of whom, Mr. Mountford and Mrs. Bracegirdle, we have already described. Another two, whose names remain familiar with posterity, are Mrs. Mountford and Mrs. Barry. Mrs. Mountford was a capital stage coquette; besides being able to act male coxcombs and country dowdies. Mrs. Barry was a fine tragedian, both of the heroic and tender cast. Dryden pronounced her the best actress he had seen. It is said she was a mistress of Lord Rochester's when young; that it was to her his love-letters were addressed; and that she owed her celebrity to his instructions. She was not handsome, and her mouth was a little awry, but her countenance was very expressive. This is the actress, who, in the delirium of her last moments, is said to have alluded in an extempore blank verse to a manœuvre played by Queen Anne's ministry some time before:—
"Ha! ha! and so they make us lords by dozens!"
Cibber's sketch of Mrs. Mountford, in the character of Melantha is the masterpiece of his book, and presents a portrait sufficiently distinct to be extracted.
"Melantha," says our lively critic (himself a coxcomb of the first water), "is as finished an impertinent as ever fluttered in a drawing-room, and seems to contain the most complete system of female foppery that could possibly be crowded into the tortured form of a fine lady. Her language, dress, motion, manners, soul and body, are in a continual hurry to do something more than is necessary or commendable. And though I doubt it will be a vain labour to offer you a just likeness of Mrs. Mountford's action, yet the fantastic impression is still so strong in my memory, that I cannot help saying something, though fantastically, about it. The first ridiculous airs that break from her are upon a gallant, never seen before, who delivers her a letter from her father, recommending him to her good graces, as an honourable lover. Here now, one would think, she might naturally show a little of the sex's decent reserve, though never so slightly covered. No, sir, not a tittle of it; modesty is the virtue of a poor-souled country gentlewoman; she is too much a court lady to be under so vulgar a confusion; she reads the letter, therefore, with a careless dropping lip, and an erected brow, humming it hastily over, as if she were impatient to outgo her father's commands, by making a complete conquest of him at once; and that the letter might not embarrass her attack, crack! she scrambles it at once into her palm, and pours upon him her whole artillery of airs, eyes, and motion; down goes her dainty diving body to the ground, as if she were sinking under the conscious load of her own attractions; then launches into a flood of fine language and compliment, still playing her chest forward in fifty falls and risings, like a swan upon waving water; and to complete her impertinence, she is so rapidly fond of her own wit, that she will not give her lover leave to praise it: silent assenting bows, and vain endeavours to speak, are all the share of the conversation he is admitted to, which, at last, he is relieved from, by her engagements to half-a-score visits, which she swims from him to make, with a promise to return in a twinkling."[239]
Three of Congreve's plays, 'Love for Love,' the 'Mourning Bride,' and the 'Way of the World,' came out at the theatre in Portugal Street. In the first paper of the 'Tatler,' Steele gives a criticism on the performance of 'Love for Love,' which contains one or two curious points of information respecting the customs of play-goers in the reign of Anne. The "article" begins like that of a modern newspaper.
"On Thursday last was acted, for the benefit of Mr. Betterton, the celebrated comedy called 'Love for Love.' Those excellent players, Mrs. Barry, Mrs. Bracegirdle, and Mr. Dogget, though not at present concerned in the house, acted on that occasion. There has not been known so great a concourse of persons of distinction as at that time: the stage itself was covered with gentlemen and ladies; and when the curtain was drawn, it discovered even there a very splendid audience. This unusual encouragement, which was given to a play for the advantage of so great an actor, gives an undeniable instance that the true relish for manly entertainments and rational pleasures is not wholly lost. All the parts were acted to perfection: the actors were careful of their carriage, and no one was guilty of the affectation to insert witticism of his own; but a due respect was had to the audience for encouraging this accomplished player. It is not now doubted but plays will revive, and take their usual course in the opinion of persons of wit and merit, notwithstanding their late apostacy in favour of dress and sound. The place is very much altered since Mr. Dryden frequented it; where you used to see songs, epigrams, and satires, in the hands of every man you met, you have now only a pack of cards; and instead of the cavils about the turn of the expression, the elegance of the style, and the like, the learned now dispute only about the truth of the game."
The last proprietor of this theatre was Rich, the famous harlequin, who, having a poor company, unable to compete with Drury Lane, introduced that love of show and spectacle which has ever since been willing to forego the regular drama, however reproached by the critics. Pope has hitched him into the 'Dunciad,' (book iii.), as one of the ministers of Dulness.
"Immortal Rich! how calm he sits at ease,
'Midst snows of paper, and fierce hail of pease;