SIDDONS, Sarah (1755-1831), English actress, was the eldest of twelve children of Roger Kemble, the manager of a company of strolling players, and his wife Sarah Ward, and was born in the “Shoulder of Mutton” public-house, Brecon, Wales, 5th July 1755. Through the special care of her mother in sending her to the schools in the towns where the company played she received a remarkably good education, although she was accustomed to make her appearance on the stage while still a mere child. She became attached to William Siddons, an actor of the company; but this was discountenanced by her parents, who wished her to accept the offer of a squire. Siddons was dismissed from the company, and she was sent to a situation as lady’s maid in Warwickshire; at last, however, the necessary consent was obtained and the marriage took place at Trinity Church, Coventry, on 26th November 1773. It was while playing at Cheltenham in the following year that Mrs Siddons met with the earliest decided recognition of her great powers as an actress, when by her representation of Belvidera in Venice Preserved she moved to tears a party of “people of quality” who had come to “scoff.” Her merits were made known by them to Garrick, who sent his deputy to Cheltenham to report regarding her abilities, the result being that she was engaged to appear at Drury Lane at a salary of £ 5 a week. Owing to inexperience as well as other circumstances, her first appearances as Portia and in other parts were unfortunate, and when, after playing with success in Birmingham, she was about to return to town she received a note from the manager of Drury Lane stating that her services would not be required. Thus, in her own words, “banished from Drury Lane as a worthless candidate for fame and ...fortune,” she again in the beginning of 1777 went “on the circuit” in the provinces. After a very successful engagement at Bath from 1778 to 1782, she again accepted an offer from Drury Lane, when her appearance in Southern’s Isabella was one continued triumph, only equalled in the history of the English stage by that of Garrick’s first night at Drury Lane in 1741 and that of Edmund Kean’s in 1814. In her earlier years it was in scenes of a tender and melting character that she exercised the strongest sway over an audience; but in the performance of Lady Macbeth, in which she appeared February 1785, it was the grandeur of her exhibition of the more terrible passions as related to one awful purpose that held them spellbound. In Lady Macbeth she found the highest and best scope for her gifts. It fitted her as no other character did, and as perhaps it will never fit another actress. Her extraordinary and peculiar physical endowments—tall and striking figure, brilliant beauty, powerfully expressive eyes, and solemn dignity of demeanour—enabled her to confer a weird majesty on the character which inexpressibly heightened the tragic awe surrounding her fate. After Lady Macbeth she played Desdemona, Rosalind, and Ophelia, all with great success; but it was in Queen Catherine—which she first played on her brother’s spectacular revival of Henry VIII. in 1788—that she discovered a part almost as well adapted to her peculiar powers as that of Lady Macbeth. In her early life she had attempted comedy, but her gifts in this respect were very limited. It was of course inevitable that comparisons should be made between her and her only compeer Rachel, who undoubtedly excelled her in intensity and the portrayal of fierce passion, but was a less finished artist and lacked Mrs Siddons’s dignity and pathos. Though Mrs Siddons’s minute and systematic study perhaps gave a certain amount of stiffness to her representations, it conferred on them a symmetry and proportion to which Rachel never attained. Mrs Siddons formally retired from the stage 29th June 1812, but occasionally appeared on special occasions even when advanced in years. In private life she enjoyed the friendship and respect of a wide circle, including many of the most eminent persons of her time. She died at London on 8th June 1831.
See Thomas Campbell, Life of Mrs Siddons (2 vols., 1834); Fitzgerald, The Kembles (3 vols., 1871); and Frances Ann Kemble, Records of a Girlhood (3 vols., 1878).
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