Gives a detailed proposal for next year's agreement. Acknowledges that others are in possession of the comic parts he used to play at Drury Lane and Covent Garden; he has "thought of Richard, Macbeth, Lear; and other Parts, such as will Suit my Time of Life" and declares "Love à la mode is my favourite Feather - the best in my cap."
Refers to his agreement with Covent Garden Theatre; proposes Love à la mode, The true-born Irishman, and a new farce; also mentions that he has by him an altered version of Philaster, a play he thinks "will stamp a peculiar and a permanent Fame upon Mr. Powel in the Character of Philaster, and upon Miss Macklin in that of Bellario, for whose Talents and Powers the alter'd Part is specifically adapted."
In 1710, England’s first copyright law gave authors the ability to own their works, but it was not until 1833 that literary property law was extended to protect dramatic performance. Between these dates, generations of playwrights grappled for control over their intellectual property in a cultural and legal environment that treated print differently from performance. As ownership became a central concern for many, actors fought to possess their dramatic parts exclusively, playwrights struggled to control and profit from repeat performances of their works, and managers tried to gain a monopoly over the performance of profitable plays. Owning Performance follows the careers of some of the 18th century’s most influential playwrights, actors, and theater managers as they vied for control over the period’s most popular shows. Without protection for dramatic literary property, these figures developed creative extra-legal strategies for controlling the performance of drama—quite literally performing their ownership. Their various strategies resulted in a culture of ephemerality, with many of the period’s most popular works existing only in performance and manuscript copies. Author Jane Wessel explores how playwrights and actors developed strategies for owning their works and how, in turn, theater managers appropriated these strategies, putting constant pressure on artists to innovate. Owning Performance reveals the wide-reaching effects of property law on theatrical culture, tracing a turn away from print that affected the circulation, preservation, and legacy of 18th century drama.
Voices surprise that Colman objects to an agreement with Macklin "on the same footing as other actors usually engaged...for your Books can shew that I brought to your Theatre, in ten nights acting between four & five hundred Pounds more than Mr. Powel & Mrs. Yates in the same number of nights."
Macklin's retained copy of a letter to Colman, in which he responds to Colman's objections to an agreement with assertions that his earning power rivals that of Mr. Powel and Mrs. Yates (now Folger MS Y.c.5380 (3)). Endorsed "my reply Oct. 16th to his answer of 13th 1770."
Macklin's list of 7 letters exchanged between Colman and himself, 1772-1773, with his descriptions of the contents (largely concerning Macklin's proposals and agreements). The third item on the list is now Folger MS Y.c.5380 (5).
Twelve autograph letters signed (1 an autograph copy), 1 autograph letter with signature removed, and 1 copy . Letters sent from Dublin, London, Liverpool and Rotterdam. Recipients: George Colman the elder, David Garrick, his wife Bessy, his daughter Maria, John Peirce, Tate Wilkinson, [John Hill] Winbolt, and another. Many concern Macklin's various legal suits; several discuss terms of engagement. In (2) he proposes cast list for Othello. In (13) he quotes from a letter from Colman to Maria Macklin, March 18, 1774. Also includes Macklin's list of 7 letters exchanged between Colman and himself, 1772-1778, including (5). Some letters undated.
Refers to an unspecified unpleasant topic of her last letter, but mentions an unnamed individual's "arrival at Covent Garden." Reports that "Mrs. Egerton has great Fame here for Lady Rodolpha." Enquires after the behavior of his son.
