Fanny Abington

English actor

• Born: 1737
• Birthplace: London, England
• Died: March 4, 1815
• Place of death: London, England

A star of the English and Irish stage, Abington dazzled theater audiences with vivacious acting and a well-modulated voice. She was also a leading fashion icon, with women of wealth and social rank following the trends she set in clothing, hairstyle, and decor.

Early Life

Fanny Abington, who was given the name Frances Barton at birth, grew up in a squalid part of London called Vinegar Yard. Her father, a former solider, ran a cobbler’s stall, and her brother worked as a stable boy at Hanway Yard. When Fanny was just fourteen years old, her mother died. The motherless Fanny sold flowers and sang songs around Covent Garden, winning her the nickname “Nosegay Fan.” Tales of the impoverished maiden standing on tavern tables and reciting poetry are probably false, as are allegations she engaged in prostitution. She held jobs as a ballad singer, a hatmaker’s assistant, and a kitchen maid. In the latter role she worked under Robert Baddeley, a comedic actor, who cooked for the renowned actor and playwright Samuel Foote.

In 1775, Theophilus Cibber, who may have been a friend of Fanny, formed a troupe of new actors and put on a series of ten shows at the Haymarket. Fanny made her acting debut as Miranda in Mrs. Centlivre’s The Busy Body (pr., pb. 1709) on August 21. She received no formal credit for her appearances until September 1, when her name appeared on the bill for her role as Kitty Pry in Colley Cibber’s The Provok’d Husband (pr., pb. 1728).

Fanny was a natural on stage. Her contemporaries described her as tall and pale, with blue eyes, a snub nose, and an alluring figure. A certain vivacity in her acting and a well-modulated voice also warranted mention by her early admirers. After the Haymarket show she performed in Bath and then Richmond. Her work in these venues caught the attention of several important men connected with the Drury Lane Theatre, one of the best theaters in the world. In the fall of 1756, she accepted an invitation to join this venerable company.

Life’s Work

Fanny Abington performed three seasons with Drury Lane. At first, competing for parts against such admired actors as Kitty Clive, she won acclaim for her portrayal of secondary characters and appearances in pantomimes. On June 19, 1757, she ended the season as Lucy in John Gay’s The Beggar’s Opera (pr., pb. 1728). Fanny’s contract paid only 30 shillings per week. Still, she may have spent some of the money on music lessons with James Abington, a king’s trumpeter. Fanny married James Abington on September 27, 1759.

In her third season at Drury Lane, Fanny quarreled with actor and stage manager David Garrick. She fancied herself a superior actor, and it is possible he did not share this opinion. In November, 1759, Fanny and her husband moved to Dublin, where she became an immediate sensation both on and off the stage. She performed many roles in Ireland, beginning with Mrs. Sullen in George Farquhar’s The Beaux’ Stratagem (pr., pb. 1707) at the Smock Alley Theatre on December 11, 1759. She also gained fame as an arbiter of style when the cap she wore as Kitty in James Townley’s High Life Below Stairs (pr., pb. 1759) became a fashion craze known simply as the “Abington.” From that time forward, women of rank shamelessly emulated her dress and hairstyles. It has been suggested that by the end of her career, Fanny’s acting salary plus fees for fashion and wedding decoration advice annually totaled some œ1,500. Fanny moved to the Crow Street Theater on May 22, 1760, then alternated between it and Smock Alley for the next several years.

Not long after arriving in Ireland, Fanny began an affair with a wealthy member of the Irish parliament. He died in 1765 and left her a tidy sum. Later, another affair did nothing to tarnish her public reputation. At some point, Fanny freed herself from her husband by paying him a pension.

At Garrick’s invitation, Fanny returned to Drury Lane in 1765. She played the Widow Belmour in Arthur Murphy’s The Way to Keep Him (pb. 1760) in November and, when Kitty Clive retired in 1769, Fanny took over her roles. For the next twenty years, Fanny was London’s leading comic actress, generating high box-office returns. However, she became increasingly egocentric and disagreeable. Garrick was a primary target of her ire, and many unfriendly letters dating from 1774 confirm a contentious relationship. Fanny alleged that he gave away parts promised to her and one night refused to play a familiar role that had been assigned on short notice, forcing him to scramble for another actress. She also accused Garrick of favoring Jane Pope, the only actress paid more than Fanny in 1773.

In 1776, Garrick announced his retirement. Fanny claimed she too was leaving the stage and entreated the ailing manager to appear at her farewell benefit. Proceeds from benefit shows went to the performer for whom it was given. Garrick agreed and played Archer in The Beaux’ Stratagem. The next season, Fanny signed on with his replacement, Richard Brinsley Sheridan, and continued acting for nearly fifteen more years.

In 1777, Sheridan put on his own play, The School for Scandal (pr. 1777, pb. 1780), at Drury Lane. The role of Lady Teazle, a country girl transformed into a fine lady, was written expressly for Fanny and became her greatest success. Nonetheless, in 1782, she battled with Sheridan and moved to Covent Garden. She played Lady Flutter in Frances Sheridan’s The Discovery and was exceptionally well received. Fanny also enjoyed considerable success as a comedian. However, against the counsel of friends and advisers, she portrayed Scrub in The Beaux’ Stratagem on February 10, 1786, and failed miserably. Her only other major flop was an ill-fated turn as Ophelia played opposite Garrick’s Hamlet in 1776.

Fanny retired suddenly in 1790, but she returned to the London stage in 1797 and reprised her role as Beatrice in William Shakespeare’s Much Ado About Nothing (pr. c. 1598-1599). The critics wrote polite but unfavorable reviews, making references to her diminished voice and portly figure. Her last part was as Lady Racket in Murphy’s Three Weeks After Marriage (pb. 1776) on April 12, 1799.

She died on March 4, 1815. Although rumors suggested she was in financial straits, her will bequeathed a generous estate.

Significance

Fanny Abington’s rise from poverty to fame and fortune shows that eighteenth century London theater welcomed aspirants of all economic backgrounds. It also suggests that Fanny possessed a great deal of talent, as performers generally ascended to the stage through family connections, high-level sponsorships, or, as in Fanny’s case, upon discovery by a theater scout. Despite her humble beginnings, Fanny charmed members of the highest ranks of society. She spoke French and Italian fluently and is said to have held her intellectual own with generals, philosophers, and royalty.

The dozen or more theatrical portraits painted of Fanny provide visual proof of her importance and status as a much-loved actor. Among the many artists that captured her image, Sir Joshua Reynolds, reputedly an ardent admirer, is perhaps the most famous. His Mrs. Abington as the Comic Muse (c. 1768) complements another of his paintings, Mrs. Siddons as the Tragic Muse (1784), and equates Fanny with Sarah Siddons, the most acclaimed tragic actress of the time. Reynolds’s depiction of Fanny as Miss Prue in William Congreve’s Love for Love (1695) is often cited as the best portrait he ever made of her.

Bibliography

Highfill, Philip H., Kalman A. Burnim, and Edward A. Langhans, eds. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800. Carbondale: Southern Illinois University Press, 1973. One of the most comprehensive accounts of Abington’s life and stage career available.

Hume, Robert D., ed. The London Theatre World, 1660-1800. Carbondale: Southern Illinois University Press, 1980. An excellent compilation of essays by the leading authorities of English drama. The book includes a well-researched chapter on the social status of actors and the conventions of English theater life.

McIntyre, Ian. Garrick. London: Penguin Books, 1999. Provides insight into Abington’s acrimonious relationship with the actor and stage manager David Garrick. Includes two illustrations of Abington and an extensive bibliography.

Mann, David D., Susan Garland, and Camille Garnier. Women Playwrights in England, Ireland, and Scotland, 1660-1823. Bloomington: Indiana University Press, 1996. Includes a brief summary of the major milestones in Abington’s life and career.

Morwood, James, and David Crane, eds. Sheridan Studies. New York: Cambridge University Press, 1995. Includes several references to Abington’s relationship with playwright and stage manager Richard Brinsley Sheridan. The first chapter provides background information about London theater.

Robins, Edward. Twelve Great Actresses. New York: G. P. Putnam’s Sons, 1900. Robins provides a colorful, if sometimes fanciful, account of Abington’s life and work, including descriptive passages concerning several notable men with whom she worked and associated. Includes one illustration of Abington.

Solkin, David H., ed. Art on the Line: The Royal Academy Exhibitions at Somerset House. New Haven, Conn.: Yale University Press, 2001. Includes a chapter discussing the portraits made of actresses in late eighteenth century London, with an emphasis on the images of Abington, Sarah Siddons, and writer Mary Robinson.