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Killigrew Family


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Thomas Killigrew the Elder

Full Name: Thomas Killigrew

Nationality: English

Title: Master of Revels

Age: 65 (b. 1612)

Gender: Male

Eye Color: Brown

Hair Color: Formerly Honey Blond, greying now

Marital Status: Married

 

Personality

A man of wit, he enjoys making people laugh. His humour can tend to the satirical.

 

Background

One of twelve children of Sir Robert Killigrew, of Hanworth, Thomas became a page to Charles I at about the age of thirteen. He was far more passionate about the theatre than about formal education. It was little wonder that he became a dramatist and Theatre manager.

 

In 1647, Thomas followed Charles II in to exile. Both a Royalist and a Roman Catholic, he spent the Interregnum in Paris, Geneva, and the Italian States, and, in 1651, was appointed Charles II's representative in Venice.

 

At the Restoration, in 1660, he too returned to England, and was made Groom of the Bedchamber, and Chamberlain to the Queen. Along with Sir William Davenant, Thomas was given a royal warrant to form a theatre company. He was able to debut before Davenant, at Gibbon's Tennis Court in Clare Market, with the new King's Company, thus taking the honour of being the first to restore English drama, following the Puritan ban of the Interregnum.

 

In 1663, the King's Company moved into the Theatre Royal in Drury Lane. Unfortunately, quarrels with his actors led to Thomas gaining a reputation as a poor manager.

 

He married firstly to Cecilia Crofts, who died in 1638. She was a Maid of Honour to Queen Henrietta Maria. He remarried to Charlotte de Hesse, and together they have three sons and one daughter.

 

In May 1677 he was stabbed by Lady Darlene Hamilton at a court ball, but survived. She was apprehended and sent away from court.

 

Children

  • Charles Killigrew (born 1656)
  • Thomas Killigrew (the younger) (1657)
  • Robert (Roger) Killigrew (born 1663)
  • Elizabeth Killigrew (born 1666)

 

His Plays

  • The Prisoners (written ca, 1632-5; printed 1641)
  • Claracilla (ca. 1636, Italy; printed 1641)
  • The Princess, or Love at First Sight (ca. 1636, Italy; printed 1663)
  • The Parson's Wedding (ca. 1637)
  • The Pilgrim
  • Bellamira Her Dream, or Love of Shadows
  • Cicilia and Clorinda, or Love in Arms
  • Thomaso, or the Wanderer (printed 1663)

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Henry Killigrew

Full Name: Henry Killigrew

Nationality: English

Age: 64 (b. 1613)

Gender: Male

Eye Color: Brown

Hair Color: Brown

Marital Status: Married

 

Physical Attributes and Personality

Deep lines in his face due to debauchery. Henry is a bored courtier who has always hung about the edge of court.

 

Background

Dr Henry Killigrew is the son of Robert Killigrew and the younger brother of the dramatist Thomas Killigrew. Henry was chaplain and almoner to the Duke of York, and Master of the Savoy (a hospital) after the Restoration.

 

A juvenile play of his, ''The Conspiracy'', was printed surreptitiously in 1638, and in an authenticated version, in 1653, as ''Pallantus and Eudora''. Member of the Merry Gang.

 

He married Judith and had three children:

 

  • Henry Killigrew, navel officer
  • James Killigrew, also a naval officer
  • Anne Killigrew (b.1660), poet and painter, who was Maid of Honour to the Duchess of York, and was the subject of an ode by Dryden, which Samuel Johnson thought the noblest in the language.

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Thomas Killigrew the Younger

Full Name: Thomas Killigrew

Nationality: English

Title: Master Thomas

Age: 20 (b. 1657)

Gender: Male

Eye Color: Brown

Hair Color: Honey Blond

Marital Status: Single

 

Physical Attributes and Personality

A witty young man. Inheriting his father's good looks from his youth, Thomas draws a lot of eyes.

 

Background

Second son of Thomas Killigrew, dramatist, satirist, and Master of Revels, young Thomas was raised with an appreciation of art and drama. He is well-educated but like his father is far more captivated by theatre and artistic pursuits.

 

Siblings:

  • Charles Killigrew (born 1656)
  • Robert (Roger) Killigrew (born 1663)
  • Elizabeth Killigrew (born 1666)

 

His Plays

None successful yet

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  • 3 years later...

Full Name: Anne Killigrew

Nationality: English

Title: Daughter of Henry Killigrew

Age: 18  (b. 1660)

Gender: Female

Eye Color: Brown

Hair Color: 

Marital Status: Unmarriedd

 

Personality

Anne was an acknowledged favorite at court, especially with her royal master and mistress. Dryden declared her beauty and charm. The portrait she painted of herself shows her in no sense averse to pomps and vanities of attire.  In actual life she must have moved along in fairly smooth accord with the life about her, but there could have been few ladies within the circle of the court more alien to it in spirit than Anne Killigrew. It is difficult to place her mentally amid the gayeties of London life. She presents an anomaly. To be young, beautiful, gifted, high in social opportunities, praised and loved, and yet to look out upon life with bitterness and distaste, to be conscious in youth that all this world has to offer will turn to dust and ashes in the mouth – such is the curious combination we find in her. While the few accessible details concerning her indicate a considerable degree of lovableness, her poems are those of an implacable moral censor.

 

Background

Anne Killigrew came of a family prominent in the court of Charles II. Her uncle Thomas, the "court wit," was given a patent for the Theater Royal; her uncle Henry was admiral under James, Duke of York; her father was chaplain to James and Master of the Savoy; and Anne was maid of honor to Mary of Modena. She was born in St. Martin's Lane and died at her father's lodgings within the Cloisters of Westminster. London and the court were her habitat. Ballard says she had "a polite education," but no details are given. She apparently was taught the accomplishments counted necessary for a girl in her social position. That she went beyond mediocrity in painting we have already seen.   In poetry, also, according to Dryden, she excelled.. Her poems sent anonymously from hand to hand received high praise and were even at first attributed to the best poets of the age. They gradually came to be known as hers, but she gives no evidence of having suffered any contumely as a poetess. She has nowhere any complaint of undue or irritating feminine limitations. She is pessimistic, scornful, rather hard and drastic, in her judgments, but it is greed for gold, ambition for place or power, unbridled love, atheism, war, that are the subjects of her invective. There is not a light or playful, or even a happy, touch in her poems. They have a crude virility, what Dryden calls a "noble vigour," and a contemptuous outlook on "the truly wretched Human Race."

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