Colley Cibber

Colley Cibber: The Man Behind the Mask

Imagine stepping into a world where the lines between actor and playwright blur, where success is measured not just by talent but also by business acumen. This was Colley Cibber’s reality in 18th-century England. Born in Bloomsbury, London, to a family of gentry, Cibber’s journey from an aspiring young actor to the Poet Laureate of his time is nothing short of fascinating.

Colley Cibber (1671-1757) was more than just a name; he was a multifaceted figure in English theatre. His career spanned decades, and his influence on the stage cannot be understated. But who exactly was this man behind the mask? Let’s delve into the life of Colley Cibber.

Early Beginnings

Cibber began his acting career in 1690, joining Drury Lane Theatre at a time when the stage was dominated by intellectualism and sexual frankness. His breakthrough came with the comedy ‘Love’s Last Shift’ (1696), which catapulted him into the limelight as both an actor and playwright.

But Cibber’s journey wasn’t without its challenges. He faced criticism from contemporaries like Robert Lowe and Alexander Pope, who questioned his taste in productions and business methods. Yet, despite these setbacks, he remained a prominent figure in British theatre history.

Theatre Manager and Poet Laureate

In 1710, Cibber took over the management of Drury Lane Theatre, becoming one of the newly empowered businessman-managers. This role allowed him to exert significant control over production and casting decisions. However, his rise to power also brought controversy, as he faced accusations of shady business practices and social opportunism.

Despite these challenges, Cibber’s memoir, ‘An Apology for the Life of Colley Cibber,’ provides valuable insights into British theatre history. Written in a personal style, it offers pen portraits of actors he knew and serves as his rebuttal to critics. His autobiography is chatty and meandering, with inaccuracies that make it an intriguing read.

Tragedy and Comedy

Cibber’s career was marked by a mix of tragic and comic roles. While he had great popular success as a comedian, his attempts at tragedy were consistently ridiculed by contemporaries. His most famous role became Lord Foppington in ‘The Relapse,’ written by John Vanbrugh. Pope mentioned audience jubilation over Cibber’s performance, which Vanbrugh allegedly wrote specifically for him.

By the end of his acting career, audiences were being entranced by the innovatively naturalistic acting of David Garrick. Cibber returned to the stage for a final time in 1745 as Cardinal Pandulph in his play ‘Papal Tyranny’ in the Reign of King John.

Adaptations and Legacy

Cibber’s adaptability is evident in his plays. His adaptation of Shakespeare’s Richard III, which remained the standard stage version for 150 years, showcases his talent as a playwright. The comedy ‘The Careless Husband’ (1704) is considered Cibber’s best play and tells the story of Sir Charles Easy, a chronically unfaithful husband, and his wife Lady Easy.

Other notable works include ‘Love’s Last Shift,’ ‘Woman’s Wit,’ and ‘Xerxes.’ However, some of his attributed plays are likely not actually by him. His career as an actor and theatre manager is notable for his rise to power and influence over production and casting at Drury Lane.

Controversy and Criticism

Cibber’s business methods were often criticized, particularly his sale of his share in a theatre company for 3,000 pounds without consulting his son. This led to the son, Theophilus, taking control of the company and Cibber being refused a letter patent to perform at the Haymarket.

As Poet Laureate, Cibber’s verses were widely criticized, and he acknowledged that he didn’t think much of them. He faced attacks from writers such as Jonathan Swift, Alexander Pope, and John Dennis, with whom he had public feuds and published pamphlets satirizing each other.

Pope was enraged by Cibber’s laureateship and responded with poetry, leading to a series of exchanges between the two men. Pope attacked Cibber in his poetry, but Cibber replied in kind, using humor and a personal anecdote about Pope’s supposed promiscuity. The exchange escalated until Pope included Cibber as the King of Dunces in the revised Dunciad.

Conclusion

Colley Cibber’s life was a testament to the complexities of success and failure on the stage. From his early days as an actor to his later years as Poet Laureate, he left an indelible mark on British theatre history. His memoirs offer a fascinating glimpse into the world of 18th-century drama, while his plays continue to intrigue scholars and enthusiasts alike.