Emilio • Link
Pepys's favorite actor, and generally held to be the best of the entire Restoration period. Sam will call him "the best actor in the world" in not too long (4 Nov. 1661).
Betterton is most famous for his voice, particularly for his dramatic intonation:
vincent • Link
Betterton made his debut in 1660: Visage , detail from an engraving
Brownlow Street was re-named Betterton Street in 1877 in honour of the seventeenth-century Shakespearean actor Thomas Betterton who lived and died in nearby Russell Street.
Wim van der Meij • Link
Thomas Betterton, born c. 1635, was the son of an under-cook to Charles I, and first appeared on the stage at the Cockpit in Drurylane in 1659. He died in 1710 and was buried in the cloisters of Westminster Abbey
Alan Bedford • Link
A short biography from the eleventh edition of the Encyclopedia Brittanica is here: http://www.theatrehistory.com/british/betterton...
Pauline • Link
from L&M Companion
Betterton, Thomas and Mary. Thomas (1635-1710) was perhaps the greatest figure in the contemporary theatre. In a career spanning fifty years he played a remarkable variety of part and earned the reputation, with most of his contemporaries as well as with Pepys, of being far and away the finest actor of his time. In addition he was a manager and trainer of actors, and himself wrote plays (mostly adaptations). He was a member and shareholder of the Duke's Company from 1661, becoming its joint-manager with Harris on Davenant's death in 1668, and had a controlling interest in the United Company formed by the merger of the Duke's and King's Companies in 1682. From 1695 he ran a troupe of actors who had left the United Company. After 1685 he was increasingly concerned with the production of opera, and put on the first performances of Purcell's "King Arthur and Fairy Queen".
His wife Mary (b. Saunderson, ?1637-1712, m. 1662) was also a member of the Duke's Company from 1661. Pepys calls her 'Ianthe' after her part in Davenant's "Siege of Rhodes". She had an important share in her husband's work of training young performers. Among their pupils Anne Bracegirdle (d. 1748) was the most eminent.
Paul Scott • Link
It was Betterton who went into Warwickshire in quest of information about William Shakespeare on behalf of Nicholas Rowe, Shakespeare's first serious biographer. Betterton is apparently the source for the deer-poaching, horse-holding and
BETTERTON (Thomas), a celebrated English actor, was born in 1635, and served his apprenticeship to a bookseller. He was usually styled the English Roscius. He made his first appearance on the stage in Sir William Davenant's company. At the restoration he belonged to the king's company at Drury-lane, and was sent by Charles II. to Paris, to observe the French scenery. At length the two companies were united, and Betterton was regarded as the first performer of the age. Mr. Booth, who knew him only in his decline, often declared, that he never saw him off or on the stage but he learned something from him; and frequently asserted, that he was not an actor, but nature itself; that he put on his part with his clothes, and was the very man or character he undertook to be till the play was over; and nothing more. So exact was he in imitating nature, than the look of surprise he assumed in the character of Hamlet (when he first personated the ghost), astonished Booth to such a degree, that he was incapable of proceeding in his part some moments. He published some dramatic pieces, chiefly taken from old authors, and died April 28, 1710. He was buried in Westminster abbey.—For further particulars, see Cibber's Apology, and Tatler, No. 167.
---Eccentric biography, 1801
Mr. Betterton being Apprentice to Mr. Rhodes a Bookseller, (who in the Year 1659, obtained from the Powers then in being, a Licence to act Plays in the Cockpit, Drury-lane,) was brought by him upon the Stage in the Year 1660, together with his Fellow-prentice Mr. Kynaston.
Mr. Betterton, tho' but twenty Years of Age at his first Appearance on the Stage; acquired very great Applause by his performances in The Loyal Subject, The Wild Goose Chace, The Spanish Curate, and several other Plays of Beaumont and Fletcher. But while this excellent Actor was rising under his Master Rhodes, Sir William Davenant took him, and all who acted under Mr. Rhodes, into his Company, in the Year 1662. In this Company, which was call'd the Duke's, Mr. Betterton was applauded for his performances in the first and second Parts of the Siege of Rhodes, that being the Play with which Sir William Davenant opened his House, having new Scenes and Decorations, being the first used in England.
Betterton was an Actor, as Shakespeare was an Author, both without Competitors, form'd for the mutual Assistance and Illustration of each others Genius! How. Shakespeare wrote, all who have a Taste for Nature may read, and know; but with what higher Rapture would he still be read; could they conceive how Betterton play'd him!
Mr. Betterton had so just a Sense of what was true or false Applause, that I have heard him say, he never thought any Kind of it equal to an attentive Silence; that there were many ways of deceiving an Audience into a loud one; but to keep them husht and quiet, was an Applause which only Truth and Merit could arrive at: Of which Art, there never was a Master equal to himself.
---The History of the Stage. C. Cibber, 1742
Thomas Betterton, younger but eldest surviving son of Matthew Betterton of Westminster, said to be under-cook to Charles I., but who (writes Colonel Chester) described himself in his will as a "gentleman." Thomas was baptized at St. Margaret's, Westminster, August 11th, 1635. He joined the company of actors formed by Rhodes, bookseller (and formerly wardrobe keeper to the Blackfriars Company), which commenced to act at the Cockpit, in Drury Lane, in 1659. When, after the Restoration, Davenant took over Rhodes's company, Betterton became his principal actor. Betterton died April 28th, 1710, and was buried in the East Cloister of Westminster Abbey on May 2nd.
BETTERTON, THOMAS (1635?-1710), actor and dramatist; probably first acted in company licensed to Rhodes, a bookseller, 1659, his chief successes being in 'Pericles,' the 'Mad Lover,' the 'Loyal Subject,' the 'Bondman,' and the 'Changeling'; joined Sir John Davenant's company at Lincoln's Inn Fields Theatre, 1661; visited Paris by royal command, with view of introducing in England improvements in dramatic representation; played Hamlet, 1661, and Mercutio, Sir Toby Belch, Macbeth, and Bosola ('Duchess of Malfi'), 1662-6; associated after Davenant's death (1668) with Harris and Davenant's son Charles in management of Dorset Garden Theatre, 1671; played Orestes in Charles Davenant's 'Circe,' OEdipus in Dryden and Lee's 'OEdipus,' Timon of Athens, King Lear, Troilus, and other characters in adaptations of Shakespeare by Dryden, Shadwell, and Tate; amalgamated with the rival company of Drury Lane, 1682; opened 'theatre in Little Lincoln's Inn Fields,' 1695; produced successfully Congreve's 'Love for Love,' Congreve undertaking to provide a play each year, a promise which was not kept; opened theatre erected by Sir John Vanbrugh in Haymarket, 1705, but resigned management to Congreve and Vanbrugh; performances of 'Love for Love' (1709) and the 'Maid's Tragedy' (1710) given for his benefit at Haymarket; highly esteemed as an actor by most of his contemporaries. His dramas include the 'Roman Virgin,' acted 1670, adapted from Webster's 'Appius and Virginia,' the 'Prophetess,' 1690, an opera from the 'Prophetess' of Beaumont and Fletcher, 'King Henry IV,' 1700 (in which he played Falstaff), from Shakespeare, the 'Amorous Widow,' c.1670, from Moliere's 'Georges Dandin,' and the 'Bondman,' 1719, from Massinger.
---Dictionary of National Biography: Index and Epitome. S. Lee, 1906.
Chart showing the number of references in each month of the diary’s entries.