*p1797 10 11 cg The Rival Soldiers. Lenox-Johnstone; Nipperkin-Munden; Capt. Cruizer-Powel; Major Tactic-Davenport; Sinclair-Incledon; Mary-Mrs Clendining.*a1797 10 11 cg Rule a Wife and Have a Wife. Leon-Holman; Duke-Clarke; Juan-Toms; Cacafogo-Waddy; Sanchio-Thompson; Alonzo-Powel; Copper Captain-Lewis; Margaretta-Miss Chapman; Altea-Mrs Gilbert; Clara-Mrs Platt; Old Woman-Mr Munden; Maid-Mr Rees; Estifania-Mrs Abington.*a1797 10 11 cg Three Weeks after Marriage. Sir Charles Racket-Knight (1st appearance in that character); Woodley-Claremont; Lovelace-Farley; Drugget-Munden; Dimity-Mrs Litchfield; Mrs Drugget-Mrs Davenport; Nancy (with a <i>song</i>)-Mrs Mountain; Lady Racket-Mrs Abington.*c1797 10 11 cg [2nd piece in place of <i>The Orphan</i>; 3rd piece of <i>Blunders at Brighton</i> [i.e. <i>The Irish Mimic</i>], both advertised on playbill of 9 Oct.] "Where [$Lewis=] absolutely exceeded all expectation, even from spirits like his own, was in the first scene of the fifth act, where he meets with <i>Cacafogo</i>r, who has been Cozened, too, and by a woman also (indeed the same woman); the convulsive joy of his laugh, frequently renewed, and invariably compelling the whole audience to a really painful sympathy, was one of the most brilliant exploits of the comedian...[Lewis] had one peculiarity, which was the richest in effect that could be imagined, and was always an addition to the character springing from himself. It might be called an attempt to take advantage of the lingering sparks of gallantry in the aunt, or the mother of sixty, or the ancient maiden whom he had to win, to carry the purposes of those for whom he was interested. He seemed to throw the lady by degrees off her guard, until at length his whole artillery of assault was applied to storm the struggling resistance; and the $Mattockses= and the $Davenports= of his attentions sometimes complained of the perpetual motion of his chair, which compelled them to a ludicrous retreat, and kept the spectator in a roar of laughter. In short, whether sitting or standing, he was never for a moment at rest--his figure continued to exhibit a series of undulating lines, which indicated a self-complacency that never tired, and the sparkling humour of his countenance was a signal hung out for enjoyment" ($Boaden=, <i>Siddons</i>, II, 364-66). Receipts: #365 4s. 6d. (357.6.6; 7.18.0).