The Dublin reference to the Misses Meadows supposes that there was more than one daughter, and there were in fact three daughters. One of the daughters whose name has survived in family records and contemporary accounts was Margaret Meadows, who had a short but successful career before an early death.
Margaret's brief heyday (she was active from 1806 until 1809) began with her London debut in a new production at Covent Garden of 'The Tempest' on 8th December, 1806. This hybrid production, produced by Charles Kemble who appeared as Prospero, and including the celebrated Miss Brunton as Miranda, was the the talk of the town in 1806 and 1807. The following excerpts from contemporary accounts (to be found on Google Books), give a clear picture of Margaret's charm and skills. Amongst her admirers was the essayist, poet and critic, Leigh Hunt, a friend of Byron, Keats and Shelley, and a noted opponent of the Prince Regent:
Critical Essays on the performers of the London theatres, by Leigh Hunt, 1807:
The Port Folio, 1807:
The Literary Panorama, 1807:
'The Monthly Mirror' of 1807 charted Margaret's progress, and included the following notice for January 30th, 1807 , for the Theatre Royal, Haymarket: "This house was opened by permission of the Lord Chamberlain, for the benefit of Mr Ware, leader of the band at Covent Garden Theatre. The sacred oratorio of the 'Messiah' was performed, with the assistance of, amongst others, Incledon, Goss, Mrs Ashe, and Miss Meadows, whose vocal merits are well-known." The theatres were closed in consequence of the martyrdom of Charles [the anniversary of the execution of King Charles I], which contributed considerably to the advantage of Mr Ware."
In 1808, Margaret appeared in a new Christmas pantomime at Covent Garden (with a central character called Sir Amorous Sordid!), which strongly recalled her family connections. 'The Euorpean Magazine, and London Review' for that year noted: " ... a new pantomime for the Christmas holidays, under the title of 'Harlequin in his element', or 'Fire, Water, Earth, and Air'. ... Mr Dibdin, we understand, is the author of this piece; and may have been supposed to have some disadvantage to struggle with, as following so immediately the very popular pantomime of 'Mother Goose', which was performed, we believe, 120 nights. ... The powers of Bologna jun. as Harlequin, and Grimaldi, as servant to Sir Amorous, are too well known to require any comment. ... Miss Adams from the Dublin Theatre was the Columbine ... Among the genii, Miss Meadows and Miss Bristow attracted most notice. To the former an opportunity was given to display her vocal powers, but not one that called forth the sweetness or the compass of her voice. ... The music is by Mr Ware and is tastefully varied. The applause which accompanied the performance throughout had scarcely any interruption; and when the pantomime was announced for a second representation, there did not appear to be a dissentient voice. It has since had an uninterrupted run."
Although Margaret's performance appears to have won widespread praise, at least one distinguished professional was more reserved in his appreciation of her performance. George Frederick Cooke, "late of the Theatre Royal Covent Garden" (where Margaret was performing) noted in his memoirs published in 1813: "A Miss Meadows made her first appearance in Ariel. She is a good figure, sings the songs well, as I am informed, but is not sufficiently handsome and delicate for the aerial sprite although young in years, she appeared to me to possess a great deal of the old stager.
Ironically, not long afterwards Margaret and Cooke found themselves as members of the same company, of which another 19th century actor, Robert Elliston, wrote in his memoirs (1857): "The Covent Garden company was at this time  carrying on their business at the Little Theatre in the Haymarket, previous to the opening of the new and magnificent edifice, and was perhaps the best body of performers that had ever been got together in the memory of the living. It was composed as follows: Kemble, Cooke, Young, C.Kemble, Pope, Brunton, Murray &c.; Lewis, Jones, Munden, Fawcett, Liston, Emery, Blanchard, Simmons, Farley, &c.; Incledon, Taylor, Bellamy &c.; Grimaldi, Bologna, Burne; Mrs Siddons, Miss Norton, Mrs St Leger, Mrs Humphries, Mrs H.Johnston, Mrs C.Kemble, Mrs Gibbs, Mrs Davenport, Mrs Dickens, Mrs Liston, Miss Meadows, Miss Bolton, &c. &c. This was indeed a great company, including three noted members of the Kemble theatre dynasty, amongst whom was the famous Mrs Siddons. It should also be noted that in 1809, Margaret was performing at the Haymarket, where her father had also performed with Charles Kemble and his wife.
Whilst Margaret's star appeared to be in the ascendant, in fact it was soon to set. Family tradition recalls that Margaret died young, and that she was thrown by a horse. But contemporary chronicles recount the real details of her end. 'The Gentleman's Magazine' noted her death in a brief entry in the obituaries in the 1809 edition: "Suddenly, Miss Meadows, a vocal performer at Covent Garden Theatre." However the July edition of 'The Monthly Mirror' for the same year, gave fuller details of the unexpected demise of Margaret. In the section entitled, 'Theatrical Chit-Chat', the Mirror informed its readers, "On the 29th June, died Miss Meadows on a load of hay. She was seized with spasms while riding with her father in a chaise, and conveyed to the hay on which she expired." Although no detail is given of where the death occurred, it was a sad and picturesque end for a girl whose father had made his name singing of Love in a Village.
Margaret Meadows in The Monthly Mirror, 1807
The final trace of Margaret dates from a year after her death in 1810, when "the favourite quartteto sung by Miss Meadows", 'When the bee sucks', (from The Tempest), composed by Margaret's former teacher John Davy, was published in London. Although she had played an ethereal character as Ariel, Margaret managed nonetheless to leave her mark.