The first child star As a boy, William Betty was the greatest actor of the age. When he was 15, though, his novelty value began to wear off. By Michael Arditti
W
hen Daniel Radcliffe was cast as Harry Potter, Jack Wild, who had known similar instant, international celebrity as the Artful Dodger in Carol Reed’s film of Oliver! (1968), wrote him a heartfelt letter: ‘Steer clear of temptations. Keep your feet on the ground. Don’t believe the hype. And, above all, enjoy fame and fortune while they last, for they can be fickle. I know; I learned the hard way.’ A child actor who learned an even harder way was William Betty (1791-1874), known as the Young Roscius. The original Roscius (died 62 BC) was a celebrated Roman actor. In 1804, aged 13, he played a range of adult roles, including Romeo and Hamlet, at both London’s Theatre Royals of Drury Lane and Covent Garden, to unprecedented acclaim. Also in 1804, he was Young Norval in Douglas (pictured). Over the next two years, he eclipsed all other actors on the British stage. John Philip Kemble and Sarah Siddons – the Ian McKellen and Judi Dench of their day – retired for 18 months rather than compete with him. Then the bubble burst and he sank into obscurity, where he has languished for 200 years. My new novel, The Young Pretender, set at the time of Betty’s attempted comeback at the age of 20, seeks to give this unjustly forgotten figure his due. It explores the nature of his youthful success, the roots of his appeal and the toll that such immoderate adulation and its abrupt withdrawal had on his psyche. Betty was, in many ways, the first modern celebrity. He combined the allure of a pop star with the credibility of a great classical actor. As he made his triumphant progress from his native Ireland, through Scotland and the English provinces, to London, Bettymania swept the country. Crowds lined the roads to watch his
carriage pass; Lady Hamilton perform her troops were called celebrated ‘Attitudes’, after to control audiences which he is reputed to have inside and outside remarked, ‘I’m too old to be theatres. He was kissed, Ma’am.’ ruthlessly He was befriended by the merchandised: men actress Mrs Jordan, and her had their Master royal lover, the Duke of Betty snuffboxes; Clarence. After one of his women their Master performances, he was invited to Betty fans; girls a supper party by the Duke, their Master Betty which occasioned adverse Betty in Douglas, 1804 cut-out dolls. comment in the press. His arrival in Yet even Mrs Jordan was not London provoked a deluge of press immune to professional jealousy. In the coverage. The Daily Advertiser’s Drury Lane green room, she is said to headline ‘ARRIVED YESTERDAY – have exclaimed, ‘Oh, for the days of Young Roscius – The Wonder of the Age’ King Herod!’ was typical. The frenzy that greeted his Those days came soon enough: Betty’s first visit to Covent Garden was as fate was sealed shortly before his nothing to what greeted his first 15th birthday. In time, his novelty value appearance on its stage. wore off. By engaging a host of infant The Prince of Wales led fashionable prodigies, including a Young Roscia, a society in lionising him. Prime Minister Young Orpheus and an Infant Vestris, William Pitt adjourned the House of venal managers exposed the original Commons early so that members could to ridicule. attend his debut as Hamlet. Kemble himself delivered the coup de There was, however, a more sinister grâce by hiring the eight-year-old Miss ingredient to both Master Betty’s Mudie (who was so short that the actor promotion and appeal. He achieved his playing her lover had to go down on all greatest success in roles such as Young fours to embrace her) to play the title Norval, Romeo and Hamlet, in which his role of The Country Girl at Covent youth and innocence were a virtue. Garden. And, of course, puberty Indeed, Charles James Fox held his destroyed Betty’s appeal for a significant Hamlet to be superior to Garrick’s. (and powerful) section of the audience. But, quite apart from the element of Betty gave his last youthful credibility (which was patently lacking performance in July 1808 and then when he was later encouraged to play matriculated at Christ’s College, Richard III and Macbeth), the youthful Cambridge, where he remained for two roles enabled him to wear costumes and and a half years, leaving without taking make-up that emphasised his beauty. his degree. He retired to the family estate His father further traded on this by in Shropshire. But a country life failed to allowing select men of fashion into his satisfy him. In 1812, he returned to the dressing room to watch him change. A boards in Bath, determined to regain his scurrilous advertisement for his tutor reputation. It is there that The Young ended, ‘For I’ve a wondrous rod in Pretender begins. pickle/Your pretty little Bum to tickle.’ For two years, Master Betty was The Young Pretender by Michael Arditti fashion’s favourite. He was taken to see is out now (Arcadia, £12.99) The Oldie May 2022 29
