the best are ‘Effects of Flattery,’ ‘Effects of Hope,’ ‘Club of Quidnuncs,’ ‘Everybody in Town,’ ‘Everybody out of Town,’ and ‘Specimens of Domestic Phrensy.’ Woodward also wrote many light fugitive pieces in prose and verse, some of which were issued in a volume in 1805, with a portrait of the author from a drawing by A. Buck. He was of dissipated and intemperate habits, spending much of his time in taverns, and died in a state of penury at the Brown Bear public-house in Bow Street, Covent Garden, in November 1809. He published:
- ‘Eccentric Excursions,’ with a hundred plates by I. Cruikshank, 1796.
- ‘The Olio of Good Breeding, with Sketches illustrative of the modern Graces,’ 1801.
- ‘The Musical Mania for 1802 … dedicated to Mrs. Billington.’
- ‘The Bettyad: a Poem descriptive of the Progress of the young Roscius in London,’ 1805.
- ‘Caricature Magazine, or Hudibrastic Mirror, being a Collection of original Caricatures,’ 1807.
- ‘An Essay on the Art of ingeniously Tormenting,’ 1808.
- ‘Chesterfield Travestie, or School for Modern Manners,’ 1808.
[Grego's Rowlandson the Caricaturist, 1880; H. Angelo's Reminiscences, 1828–30; Redgrave's Dict. of Artists; Gent. Mag. 1809, ii. 1175.]
WOODWARD, HENRY (1714–1777), actor, the eldest son of a tallow chandler in the borough of Southwark, London, was born in London 2 Oct. 1714, and intended for his father's occupation. He was at Merchant Taylors' school from 1724 to 1728. After his father's failure in business ‘Harry’ Woodward, as he was generally called, joined the Lilliputian troupe of Lun [see Rich, John] at Lincoln's Inn Fields, playing on 1 Jan. 1729 in the ‘Beggar's Opera’ as the Beggar and Ben Budge (the ‘Thespian Dictionary’ says as Peachum). During the season the performance was repeated fifteen times, and Woodward, now thoroughly stage-struck, remained with Rich, who instructed him in harlequin and other characters. ‘Master’ Woodward appeared at Goodman's Fields on 5 Oct. 1730, and as ‘Young’ Woodward played on 30 Oct. Simple in the ‘Merry Wives of Windsor.’ On 31 Dec. he was Dicky in the ‘Constant Couple,’ on 7 Jan. 1731 Page in the ‘Orphan,’ and on 5 May Tom Thumb, for his benefit, when he spoke a prologue written by himself. On 12 May he was a Spirit in the ‘Devil of a Wife,’ and on 1 and 2 June a priestess in ‘Sophonisba,’ and a Spirit in the ‘Tempest.’ At Goodman's Fields, where he remained until 1736, we read in the bills of Woodward, Young Woodward, Master Woodward, and H. Woodward. Presumably these are all the same, though Dr. Doran seems to think the contrary. To one or other of these names appear Haly in ‘Tamerlane,’ Selim in ‘Mourning Bride,’ Harlequin, First Drawer in the ‘Cheats, or the Tavern Bilkers,’ Daniel in ‘Conscious Lovers,’ Donalbain, Setter in ‘Old Bachelor,’ Squire Richard in the ‘Provoked Husband,’ Harry in ‘Mock Doctor,’ Jaques in ‘Love makes a Man,’ Squire Clodpole in ‘Lover's Opera,’ Supple in ‘Double Gallant,’ Fetch in ‘Stage Coach,’ and Shoemaker in ‘Relapse.’ On 25 Sept. 1734, Woodward acted harlequin as Lun, jun. Subsequently he was seen as Petit in the ‘Inconstant,’ Prince John in ‘The Second Part of King Henry IV,’ Victory in ‘Britannia,’ Sneak in ‘Country Lasses,’ Slango in ‘Honest Yorkshireman,’ and Albanact in ‘King Arthur.’ Woodward's name appears on 29 Jan. 1736 as Issouf, an original part, in Sterling's ‘Parricide.’
After the removal of the company to Lincoln's Inn Fields, Woodward appeared on 3 Jan. 1737 as Harlequin Macheath in the ‘Beggars' Pantomime, or the Contending Columbines.’ The authorship of this is ascribed to Lun, jun., i.e. Woodward, who dedicated to Mrs. Clive and Mrs. Cibber the printed version, 12mo, 1736, with an apology for having burlesqued their quarrel over the part of Polly in the ‘Beggar's Opera.’ On 12 Feb. 1737 Woodward was the first Spruce in Lynch's ‘Independent Patriot, or Musical Folly,’ and on 21 Feb. the first Young Manly in Hewitt's ‘Tutor for the Beaus [sic], or Love in a Labyrinth.’
At the end of the season (1737) the theatre was closed, and Woodward went to Drury Lane, appearing on 13 Jan. 1738 as Feeble in the ‘Second Part of King Henry IV.’ Here he remained until 1741–2, playing many parts in comedy (for a full list see Genest). Among them were Slender, Gibbet in the ‘Squire of Alsatia,’ Kastril in ‘Alchemist,’ Abel in ‘Committee,’ Jeremy in ‘Love for Love,’ Simon Pure, Sir Amorous La Foole in ‘Silent Woman,’ Duretete, Sir Novelty Fashion, Lord Foppington, Poet in ‘Timon of Athens,’ Pistol, Richmond in ‘Charles I,’ Silvius in ‘As you like it,’ Ventoso in Dryden's ‘Tempest,’ and Sir Andrew Aguecheek. The original parts assigned him are insignificant. They consist of French Cook in ‘Sir John Cockle at Court,’ Dodsley's sequel to the ‘King and the Miller of Mansfield,’ 23 Feb. 1738; Poet in Miller's ‘Hospital for Fools,’ 15 Nov. 1739; Dapperwit in Edward Phillips's ‘Britons, Strike Home,’ 31 Dec.; Beau in Garrick's
