Charles Macklin and the Theatres of London: Life and times of a colourful thespian

From the chain-smoking comedian Dave Allen to the charming Terry Wogan and the indefatigable Graham Norton, there has been no shortage in British culture of Irish people who act as intermediaries, moving effortlessly between these two deeply interconnected cultures.

More than 200 years ago there was a very different figure who occupied a similar ambiguous place, the actor and playwright Charles Macklin born in Co Donegal. His early years are murky and, as the editors of this wonderful volume indicate, there is even uncertainty about when precisely he was born, with most authorities suggesting 1699. After moving to Dublin for schooling, he left for England in 1710, doing odd jobs, and finally showing up on the London stage in the 1720s.

Macklin did all the big roles on the London stage and is particularly renowned for his portrayal of Shylock in The Merchant of Venice in the early 1740s. He was by all accounts a divisive character, keeping going a long-running feud with fellow actor and playwright David Garrick.

Tried for murder

To say that Macklin was a larger-than-life figure is an understatement. He was a very physical actor, a man of strong opinions and strong tastes, a teacher to others who wrote many plays, and was equally at home with the business side of theatre. He could be difficult and performed in the courts as well as on stage, not least when he defended himself when he was tried for the murder of a fellow actor in 1835 (he was found guilty of manslaughter).

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In this extraordinary full life, he played in theatres in Dublin and London for more than 60 years and was very much a towering figure on the London stage. His Irishness was a core part of his identity, both on stage and off.

his final performance provided a touching scene, a benefit for him playing Shylock at Covent Garden in May 1789 during which he left the stage as could no longer remember the lines. It was an ill-fitting swan song for one of the great figures of Irish and British theatre.

Ian Newman (Notre Dame) and David O’Shaughnessy (Galway) have pulled together a stellar cast of authors from across the world to give Macklin’s life the wide-angled focus it truly deserves. Particular highlights in a sparkling collection of riches are the fascinating essays concerning Macklin on song, theatre management, the novel and censorship.

• Enda Delaney is Professor of Modern History at the University of Edinburgh