Dictionary of National Biography, 1885-1900/Dodd, James William
DODD, JAMES WILLIAM (1740?–1796), actor, born in London about 1740, is said to have been the son of a hairdresser. He was educated at ‘the grammar school in Holborn’ (Theatrical Biography, 1772). His success as Davus in a school performance of the ‘Andria’ of Terence decided his choice of the life of an actor. When only sixteen years of age he is said to have appeared at Sheffield as Roderigo in ‘Othello.’ He was met by Tate Wilkinson (Memoirs, iii. 114) in Norwich in 1763. He then played in comedy and tragedy, and was, according to Wilkinson, ‘a reigning favourite.’ An engagement in Bath followed, and proved as usual a stepping-stone to London. Dr. Hoadly, who saw him in the ‘Jealous Wife’ and other pieces, recommended him to Garrick, by whom and Lacy he was engaged. Hoadly says, in a letter to Garrick, that ‘his person is good enough, but his motion is too much under restraint and form; more the stalk and ménage of a dancing-master than the ease of a gentleman. … He has a white, calf-like stupid face that disgusted me much till I heard him speak, and throw some sensibility into it. His voice is good and well heard everywhere. … I fear there must be a dash of the coxcomb in every part in which you would see him in perfection. … He sings agreeably, and with more feeling than he acts with. … One excellence I observed in him, that he is not in a hurry, and his pauses are sensible, and filled with proper action and looks’ (Garrick, Correspondence, i. 184). This eminently judicious criticism secured his engagement for Drury Lane. Mrs. Dodd, who was acting with him as Polly to his Macheath, in Lady Townley, Mrs. Oakley, &c., was also engaged, and appeared at Drury Lane, where on 29 Jan. 1766 she played Lady Lurewell in the ‘Constant Couple.’ Martha Dodd died in the latter end of October 1769 (Reed, Notitia Dramatica MS.) Dodd's first appearance at Drury Lane took place 3 Oct. 1765 as Faddle in Moore's comedy, ‘The Foundling.’ From this time until the close of the season preceding his death, a period of thirty-one years, Dodd remained at Drury Lane, in the case of an actor of equal position an almost unique instance of fidelity. During this long period he played a very large number of parts. These chiefly consisted of beaux and coxcombs, in which he was regarded as a successor to Colley Cibber. He played also in low comedy, sang occasionally, and sometimes, chiefly for his benefit, took serious characters, appearing on one occasion as Richard III. During his first year's engagement he was seen as Jack Meggott in the ‘Suspicious Husband,’ Osric in ‘Hamlet,’ Lord Trinket in the ‘Jealous Wife,’ Lord Plausible in the ‘Plain Dealer,’ Slender in the ‘Merry Wives of Windsor,’ Sir Harry Wildair in the ‘Constant Couple,’ Roderigo in ‘Othello,’ Alexas in ‘All for Love,’ Sparkish in the ‘Country Wife,’ Sir Novelty Fashion in ‘Love's Last Shift,’ and Marplot in ‘The Busybody,’ with other characters. He was especially excellent as Sir Andrew Aguecheek and Abel Drugger. Of the many characters of which Dodd was the first exponent the most noteworthy are Sir Benjamin Backbite in the ‘School for Scandal,’ Dangle in the ‘Critic,’ Lord Foppington in the ‘Trip to Scarborough,’ and Adam Winterton in the ‘Iron Chest.’ The first of these performances stamped his reputation, the last brought him great discouragement. The ‘Iron Chest’ was a failure; Colman, the author, laid the blame upon Kemble, who played Sir Edward Mortimer. The public, however, hissed Dodd, whose part was long and tedious. Dodd was greatly shocked, and after the close of the season 1795–6 he acted no more. His last appearance was as Kecksey in the ‘Irish Widow’ of Garrick, 13 June 1796. He died in the following September. Of the brilliant company assembled by Garrick Dodd was a conspicuous member. Lamb's praise of Dodd will not be forgotten: ‘What an Aguecheek the stage lost in him! … In expressing slowness of apprehension this actor surpassed all others. You could see the first dawn of an idea stealing slowly over his countenance, climbing up by little and little with a painful process, till it cleared up at last to the fulness of a twilight conception, its highest meridian. He seemed to keep back his intellect as some have the power to retard their pulsation.’ Dodd left at his death a collection of books, largely dramatic, which formed a nine days' sale at Sotheby's, and realised large prices. He also collected the weapons of the North American Indians. Like his predecessor Cibber, he had a weak voice. Mrs. Mathews, who speaks of him as ‘the high red-heeled stage dandy of the old school of comedy,’ says he was ‘a very pompous man’ (Tea Table Talk, ii. 222). Dibdin (History of the Stage, v. 349) says, rather nebulously, ‘his great merit was altogether singularity,’ but credits him with ‘a perfect knowledge of his profession.’ Dodd's connection with Mrs. Bulkeley extended over many years, and ended in a separation and a scandal by which for a time the lady suffered. Boaden's ‘Life of Mrs. Inchbald,’ i. 29, tells a story greatly to the discredit of Dodd, whose behaviour to Mrs. Inchbald appears to have been infamous. Dodd had a son James (d. 1820, see Notes and Queries, 5th ser. vi. 289), who was a clergyman, and was usher of the fifth form at Westminster. Portraits of Dodd as Abel Drugger in ‘The Alchemist,’ as Lord Foppington in the ‘Trip to Scarborough’ (Dighton), and in private dress are in the Mathews collection of pictures in the Garrick Club.
[Authorities cited; Genest's Account of the English Stage; Theatrical Biography; Thespian Dictionary, 1805; Dutton Cook's Hours with the Players, 1881; Isaac Reed's Notitia Dramatica MS.]