Colley Cibber

Colley Cibber (born Nov. 6, 1671, London, Eng.—died Dec. 11, 1757, London) was an English actor, theatre manager, playwright, and poet laureate of England, whose play Love’s Last Shift; or, The Fool in Fashion (1696) is generally considered the first sentimental comedy, a form of drama that dominated the English stage for nearly a century. His autobiography, An Apology for the Life of Mr. Colley Cibber (1740), contains the best account of the theatre of his day and is an invaluable study of the art of acting as it was practiced by his contemporaries.

A well-educated son of the sculptor Caius Gabriel Cibber, he began his acting career in 1690 with Thomas Betterton’s company at the Drury Lane Theatre, London. Marrying three years later and finding his earnings as an actor inadequate, he wrote Love’s Last Shift to provide himself with a role; the play established his reputation both as actor and as playwright. The playwright Sir John Vanbrugh honoured it with a sequel, The Relapse: or, Virtue in Danger (1696), in which Cibber’s character Sir Novelty Fashion has become Lord Foppington, a role created by Cibber. In 1700 Cibber produced his famous adaptation of Shakespeare’s Richard III, which held the stage as the preferred acting version of that play until the original version was restored by the actor Henry Irving in 1871. Cibber’s adaptation was notable for such Shakespearean-sounding lines as “Off with his head—so much for Buckingham!” and “Conscience, avaunt, Richard’s himself again!” Cibber also wrote other comedies of manners, including She Wou’d, and She Wou’d Not (1702) and The Careless Husband (1704).

At this time Cibber entered upon a series of complex intrigues to obtain a position in theatre management. By 1710 he was, with Robert Wilks and Thomas Doggett (the latter soon to be replaced by Barton Booth), one of a famous “triumvirate” of actor-managers under which Drury Lane Theatre conspicuously prospered.

After the death of Queen Anne, Cibber entered the political arena, writing and adapting plays (notably The Non-Juror, in 1717, from Molière’s Tartuffe) in support of the Whig cause, with a skill and energy that in 1730 led to his appointment as poet laureate. In 1728 he completed The Provok’d Husband, a play left unfinished by Vanbrugh at his death in 1726. Anne Oldfield, Cibber’s leading actress, died in 1730; and Wilks, his first partner in management, died in 1733. The next year Cibber announced his retirement from management. Nevertheless, he did not make his final stage appearance until Feb. 15, 1745, when he played in his own adaptation of Shakespeare’s King John.

Tactless, rude, and supremely self-confident, Cibber was the target of many attacks, both personal and political. In the 1743 edition of Alexander Pope’s satirical poem The Dunciad, Cibber was elevated to the doubtful eminence of hero. He responded with spirit, publishing three letters attacking Pope that, according to Dr. Johnson, caused the latter poet to writhe in anguish.