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- Michael Mohun, né vers 1620 et enterré le 11 octobre 1684, est un comédien anglais majeur qui a exercé ses talents tant avant qu'après la période de fermeture des théâtres, imposée par le régime militaire de Cromwell, de 1642 à 1660. Il a aussi joué dès 1659, avec d'autres comédiens de la période antérieure au Commonwealth d'Angleterre, dans le cadre d'une troupe non autorisée qui avait établi ses quartiers au théâtre du Red Bull Theatre de Londres. En sa qualité de meneur de la troupe, Mohun parvient à un accord avec le Maître des Festivités, qui lui accorde le privilège de pouvoir jouer en contrepartie du paiement de royalties. Plus tard, au terme d'une lutte de pouvoir complexe autour des deux lettres de patente émises par Charles II en faveur de deux compagnies théâtrales au moment de la Restauration de la monarchie, il devient un membre à part entière de la King's Company de Thomas Killigrew, patronnée par le roi. Avec Charles Hart et John Lacy, autres grandes figures masculines de cette troupe, Mohun bénéficie d'un statut tel qu'il jouit d'une autorité certaine, qui lui permet, par exemple, d'apposer sa signature sur les documents officiels pour le compte des autres comédiens de la troupe. Il demeure membre de la King's Company jusqu'à ce que son âge et ses problèmes de santé le poussent à faire ses adieux à la scène, à la fin des années 1670. Michael Mohun s'est très fréquemment vu confier des rôles majeurs, voire principaux, essentiellement dans le registre des « méchants ». Ainsi, ses interprétations des personnages de Iago, dans Othello de Shakespeare, et le personnage-titre de la comédie Volpone de Ben Jonson, ont grandement contribué à sa célébrité. Il est aussi connu pour avoir apporté, par son talent, un côté sombre au personnage de Pinchwife dans La Provinciale de William Wycherley. (fr)
- Michael Mohun (1616? – buried 11 October 1684) was a leading English actor both before and after the 1642–60 closing of the theatres. Mohun began his stage career as a boy player filling female roles; he was part of Christopher Beeston's theatrical establishment at the Cockpit Theatre, "eventually becoming a key member of Queen Henrietta's Men." For the period from 1642 to 1659, Mohun was an officer in military units loyal to the House of Stuart; he served in England, Ireland, and the Low Countries, and rose to the rank of major. He was seriously wounded at Dublin, and was a prisoner of war for two extended periods. At the end of the English Interregnum, Mohun was one of the men — George Jolly and John Rhodes were others — who attempted to restart dramatic performance. In 1659 Mohun performed with other pre-Commonwealth actors in an unlicensed troupe at the Red Bull Theatre. As the manager of the troupe, Mohun came to an agreement with the Master of the Revels to pay fees for the privilege of performing; but eventually, like Jolly and Rhodes, he was out-manoeuvred by Thomas Killigrew and Sir William Davenant. After a complex power struggle for the two company patents issued by Charles II at the Restoration of the monarchy, Mohun became a full sharer in Killigrew's King's Company. Along with Charles Hart, the other leading male actor, Mohun was in a position of some authority, often signing official papers on behalf of the sharing actors. He remained a member of the King's Company until he left the stage on account of age and ill-health in the late 1670s. Mohun regularly acted leading and major roles, mostly villains. His interpretations of Iago and of the title role in Ben Jonson's Volpone were famous, and he brought a sinister edge to the part of Pinchwife in William Wycherley's The Country Wife. Mohun repeatedly seconded Charles Hart's leads, playing Iago to Hart's Othello, and Cassius to Hart's Brutus. Mohun compiled a long list of noteworthy other roles in his career. He played Bellamente in Shirley's Love's Cruelty both before 1642 and after 1660, and he acted in other revivals besides those named above. He played:
* Face in The Alchemist
* Truewit in Epicene
* Leontius in The Humorous Lieutenant
* Don Leon in Rule a Wife and Have a Wife
* Melantius in The Maid's Tragedy
* Mardonius in A King and No King
* Aubrey in Rollo Duke of Normandy. He took roles in contemporary Restoration dramas, by John Dryden —
* Maximin in Tyrannick Love
* Ventidius in All for Love
* Rhodophil in Marriage à la mode
* the Old Emperor in Aureng-zebe
* Beaumont in Amboyna
* Philocles in The Maiden Queen
* Belamy in An Evening's Love
* the Emperor in The Indian Emperour
* the Duke of Mantua in The Assignation — and by other playwrights:
* Pinchwife in Wycherly's The Country Wife
* Clytus in Nathaniel Lee's The Rival Queens
* Augustus Caesar in Lee's Gloriana
* Britannicus in Lee's The Tragedy of Nero
* Hannibal in Lee's Sophonisba, or Hannibal's Overthrow
* Mythridates in Lee's
* Lord Burleigh in John Banks's The Unhappy Favourite
* Matthias in John Crowne's The Destruction of Jerusalem
* Breakbond in Edward Howard's The Man of Newmarket
* King Edward III in The Black Prince by Roger Boyle, 1st Earl of Orrery. Mohun retired from the stage in 1682, when the King's Company joined with the Duke's Company to form the United Company. He had trouble obtaining his pension; his petition to King Charles II on the subject is valuable for the amount of autobiographical material it contains. (en)
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- Michael Mohun (1616? – buried 11 October 1684) was a leading English actor both before and after the 1642–60 closing of the theatres. Mohun began his stage career as a boy player filling female roles; he was part of Christopher Beeston's theatrical establishment at the Cockpit Theatre, "eventually becoming a key member of Queen Henrietta's Men." Mohun compiled a long list of noteworthy other roles in his career. He played Bellamente in Shirley's Love's Cruelty both before 1642 and after 1660, and he acted in other revivals besides those named above. He played: — and by other playwrights: (en)
- Michael Mohun, né vers 1620 et enterré le 11 octobre 1684, est un comédien anglais majeur qui a exercé ses talents tant avant qu'après la période de fermeture des théâtres, imposée par le régime militaire de Cromwell, de 1642 à 1660. Il a aussi joué dès 1659, avec d'autres comédiens de la période antérieure au Commonwealth d'Angleterre, dans le cadre d'une troupe non autorisée qui avait établi ses quartiers au théâtre du Red Bull Theatre de Londres. (fr)
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