Aldridge had spent eleven weeks in the spring of 1833 performing in four theaters in London and one theater in Bath. Before moving on, he appears to have taken a holiday. Perhaps he needed to rest and recover from his exertions in the capital. Or perhaps he was finding it difficult to secure additional engagements there or nearby. We next hear of him performing in Swansea six weeks later, opening in Othello and The Padlock on July 29.

This was his third appearance in Wales, and he was now billed as “the highly Celebrated AFRICAN ROSCIUS (the most singular Novelty in the Theatrical World, viz. AN ACTOR OF COLOUR, and whose extraordinary Talents have been the theme of universal admiration at the Theatres-Royal Covent Garden, Bath and Bristol, Dublin, Edinburgh, &c.).” The insertion of the Theatre Royal Covent Garden into his list of credits was signifi - cant. Even though he had not been universally admired there, the fact that he had been invited to perform at a prestigious patent theater could now be offered as proof of his professional ability. In publicity materials circulated about him thereafter, even to the very end of his career decades later, his previous connection with Covent Garden was always emphasized. It told audiences that here was an actor who deserved to be taken seriously. His color certainly made him unique, but he was no longer the sort of ethnic novelty who could be dismissed as a joke. Covent Garden gave him respect, dignity, instant gravitas.

The audience in Swansea reacted accordingly: