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Painted in , only a few years after Garrick's creation of the role at the Goodman's Fields theatre in , the picture suggests the facial and gestic stress through which Garrick conveyed emotion for a pre-romantic theatre. However, the untheatrically sumptuous trappings also warn us against too literal a reading of such portraits, through which Garrick hoped to immortalize his genius: for the conventions are those of historical painting rather than of the theatre.
Garrick's first appearance on the London stage exploited a loophole in the Licensing Act, whose provisions actors and managers soon sought to evade. Thus, James Lacy, a stalwart of Fielding's company, had apparently mounted one-man shows in , while Tony Aston twice advertised 'Serious and Comic Oratory' in tavern venues—and Charlotte Charke turned to her puppets. But it was Henry Giffard who first engaged a full company and mounted regular performances, at his old theatre in Goodman's fields, through the device of promising a concert of 'vocal and instrumental music'—between the two parts of which 'will be presented a comedy, gratis, by persons for their diversion'.
This 'concert formula' must have enjoyed at least tacit government approval, since the plays were even submitted to the Lord Chamberlain, as his powers of censorship now required. Garrrick, fresh to the town as a law student turned wine merchant, was evidently on good terms with Giffard, for whose benefit he had written an entertainment at Drury Lane in then, in October , Garrick appeared anonymously in the title role of Richard III at Goodman's Fields.
In the same year, a general election had returneed a majority favooring the vigorious pursuit of the war which—already in progress against Spain—was soon to involve all Europe. And in February Sir Robert Walpole resigned, giving way to a 'broad-bottomed' Whig ministry dedicated to imperialistic expansion. As it turned out, the art of the new actor was ideally suited to the temper of the new age.
These sketches, less posed than the formal paintings [further above and further below], better capture the fluent mobility and no less expressive tranquillity of Garrick's acting. A fellow professional, Arthur Murphy, remarked of Garrick that ' off the stage he was a mean sneaking little fellow. But on the stage. Here he judiciously balanced popular demand against his perception of the dignity of the profession—and of himself. At home, Jacobitism finally flared out in the uprising of —less a genuine threat this time than an opportunity seized to eliminate all Scottish resistance at Culloden.
Henry V was duly brought on to stimulate patriotic fervour at the theatres, while in September the National Anthem for the first time accompanied the performance at Drury Lane—inaugurating a tradition which was to have audiences shuffling to their feet for well over two hundred years. And so, whereas the theatre of the s had been, if not the hotbed of opposition sometimes alleged, at least a constant irritant to officialdom, during Garrick's long ascendancy it tended rather to reflect the prevailing chauvinistic mood. Playing opposite him is Hananha Pritchard , who had first appeared at Drury Lane in , but moved to Covent Garden from to before joining Garrick for the remainder of her career.
She was favourably compared with Mrs Cibber both by Richard Cumberland, who claimed that she had 'more change of tone, and variety both of action and expression', and by Charles Dibdin, who declared: 'Mrs. Cibber's acting was delightful, Mrs. Pritchard's commanding. One insinuated herself into the heart, the other took possession of it.