Colley Cibber was not well received. In the middle of the play, he whispered to fellow actor Benjamin Victor that he wanted to go home, perhaps realising he was too old for the part and its physical demands. Cibber also essayed tragic parts in plays by Shakespeare, Ben Jonson, John Dryden and others, but with less success. By the end of his acting career, audiences were being entranced by the innovatively naturalistic acting of the rising star David Garrick, who made his London debut in the title part in a production of Cibber's adaptation of "Richard III" in 1741. He returned to
Music of Scotland in the eighteenth century reform church music. Common practice was lining out, by which the precentor sang or read out each line and it was then repeated by the congregation. New practices were introduced and the repertory was expanded. In the second half of the eighteenth century these innovations became linked to a choir movement that included the setting up of schools to teach new tunes and singing in four parts. Published paraphrases of passages of the Bible were adopted in many parishes. In the sixteenth and seventeenth centuries the bagpipes had replaced the harp as the most popular instrument in the Highlands. There