In saying that she no longer led the "vagabond" life of her early days, we mean that instead of wandering, as strolling players were obliged to do, from town to town, trusting to the chances of the hour, pitching their tent in a barn or an inn, and trusting to the caprice and humours of the public officials of the places they came to, she now secured fixed engagements at the best provincial theatres, which, owing to the difficulties and expenses of a journey to London, were attended during the season by many of the county magnates, and the lesser stars following and surrounding the brighter planets.
Bath stood at the head of these provincial theatres. York, Hull, Manchester, Hereford, Liverpool, Worcester, and many others came next in order of merit.
The first engagement she received on quitting Drury Lane was at Birmingham, where she remained the whole summer of 1776, acting parts of the highest standing. Here she enjoyed the privilege of having Henderson as coadjutor, who, Campbell tells us, was so struck by her merits, that he wrote immediately to Palmer, the manager of the Bath Theatre, urging him in the strongest terms to engage her. Palmer was unable to follow this advice just then, but did so later.
The only direct communication we have from her during this time of work and struggle is a letter to Mrs. Inchbald, whose friendship with the Kembles had begun in 1776. Charges were, indeed, "tremendous circumstances" to her who, at the best of times in those early days, only enjoyed a salary of three pounds a week. Her observations about "exotics" are amusing, she herself figuring so largely later in that character, to the dread of all provincial actresses:—
"I played Hamlet in Liverpool, to near a hundred
