William Twaits (actor)

He commenced acting at a place called Waltham Abbey… [he was] Short and thin, yet appearing broad; muscular yet meagre; a large head, with stiff, stubborn, carroty hair; long, colourless face, prominent hooked nose, projecting large hazel eyes, thin lips, and large mouth, which could be twisted into a variety of expression, and which, combining with his other features, eminently served the purposes of the comic muse - such was [his] physiognomy...'[1][2] Dunlap does not mention whether Twaits had any experience of acting in London, but The London Stage mentions two performances, separated by a year, held at Wheatley's Riding School in Greenwich.

Twaits made his American début at the Chestnut Street Theatre in Philadelphia in late 1803[3] as Dr. Pangloss in The Heir at Law where his success was so great that prints of him in the role were rapidly being sold all over the city.

[1] After two seasons in Philadelphia Twaits moved to New York where he appeared at the Park Theatre in June 1805 as Caleb Quotem in The Wags of Windsor opposite the British-born actress Mrs. Elizabeth Ann Westray Villiers (1783-1813) as Leonora.

Twaits remained at the Park Theatre throughout 1805 in such roles as Megrim in Blue Devils; Dominique in Paul and Virginia; Stave in The Shipwreck; Shelty in The Highland Reel; Goldfinch in The Road to Ruin; Trudge in Inkle and Yarico; Ruttekin in Robin Hood and Dick Dsshall in The Way to Get Married.

[5] He played Cosey in Town and Country when it was first performed in the United States in New York City on 2 November 1807 at the Park Theatre, with Thomas A. Cooper as Reuben Glenroy.

The Richmond Theatre fire killed about 77 people including many government officials and was the worst urban disaster in American history at the time.

The benefit originally had been scheduled for December 23, but was postponed due to the death of one of the company's players, Eliza Poe, as well as Placide's own illness and foul weather.

Twait's peculiar physiognomy, his awkward gait, nasal twang, and petite form, all disqualify him from those parts where dignity of person, and gracefulness of carriage are essential concomitants.