After seeing, at Leeds, Charles Mathews as Farmer Ashfield in Thomas Morton's Speed the Plough, he ran away from home and joined a company at Cheadle, Staffordshire, where he opened as Jeremy Diddler in James Kenney's farce Raising the Wind.
He appeared in Manchester as Robin Roughhead in John Till Allingham's Fortune's Frolic with success; and then, at a salary of thirty shillings, joined the Nottingham company.
Here, where he rose in reputation, he was seen by John Bannister in Zekiel Homespun and Dr. Pangloss in The Heir at Law by George Colman the Younger, and was recommended by him to the manager of the Haymarket Theatre.
Rayner then joined the Lyceum, where he appeared in July 1823 as Fixture in Thomas Morton's A Roland for an Oliver, and subsequently played Giles in The Miller's Maid.
[1] At Covent Garden, under Charles Kemble, he made what was announced as his first appearance there, in October 1823, as Tyke in Thomas Morton's The School of Reform.
Sam Sharpset in The Slave, Fixture, and Pan in Midas followed, and he had an original part in an unprinted drama in two acts, The Ferry of the Guiers.
Two burlettas, Professionals Puzzled by William Leman Rede, and Mystification, were produced, and Rayner appeared as Giles in The Miller's Maid; Harriet Waylett became his leading actress.
Rayner went into the country, and obtained a great success as Lubin in Love's Frailties, written for him by J. J. Stafford to show off his abilities.
It was too late to be of service to Rayner, who retired from his long fight practically ruined, and began writing for racing papers and magazines.