WHEN lovely Delphine sought the crouded scene, The painter's mimic power no longer mov'd, All turn'd to gaze upon her beauteous mien ; Amid the proud display of forms so fair, Of each fine tint the pencil can impart, THE LONDON THEATRES. DRURY LANE. 1807. Feb. 19-Curfew (first time] March 3. Ib.-Tekeli. With the exception of the Curfew, of which we have given a full account in a preceding page, the only New Piece produced at this theatre is the Hussar, an operatic entertainment, by Mr. Dimond. It is evidently from a French original, and is so far unfortunate, that, besides its being unskilfully adapted to our stage, it follows, though at an immeasurable distance, incidents of a similar nature, already more forcibly, and more interestingly represented in the Escapes and Tekeli. The dialogue is tedious and trite. The musick by Kelly, like his other compositions, is simple and pleasing, and the duet between Mrs. Mountain and Mrs. Bland extremely spirited; but in general the airs were rather heavy, and what is remarkable on a first night, not one of them was encored. The Hussar was performed by Mr. Elliston, who plays too incessantly for his fame. Mrs. Mountain looked, sung, and acted charming y. A Melo-Drame by Mr. Monk Lewis, called The Wood Damon; or, The Clock has Struck; and a Comedy by Mr. Cherry, are expected very shortly. COVENT GARDEN. Feb. 21. Wheel of Fortune. 23. Richard III. 24. Jealous Wife. 26. Tempest. 28. Every Man in his March 2. Oroonoko. 3. Man of the World. March 5. Tempest 9. Richard III. Except on the first night of the new Comedy, Mother Goose, was acted on all the above nights. The comedy of the Town and Country, of which some slight mention is made in another department, and the popular pantomime of Mother Goose, have brought crowded houses to every night's performance. The golden eggs are gather.ng into the treasury in prodigious quantities. A grand Ballet or Melo-drame (we know not which) is in preparation against Whitsuntide. The subject is from the Fairy Tales. Mr. Cherry has an opera at this theatre; Mr. Allingham, a farce; and the Honourable Mr. Lamb, an operatic drama, called Whistle for't, which has been acted once or twice at Lord Abercorn's private theatre. THE COUNTRY THEATRES, &c. Her Theatre Royal EDINBURGH.-The beautiful Mrs. Orger continues to delight us as an actress in lively singing characters, she, like many of the old company, having contrived to make up matters with the manager, after their quarrel. Notwithstanding her great merit, which I feel happy in declaring, I cannot help remarking deficiencies which I trust she will endeavour to remedy. Her enunciation is quick, snappish, and consequently indistinct; hence in ballad singing, notwithstanding the sweetness of her tones, a defective articulation too often renders her unintelligible. action and deportment, in consequence of repeated tossings of the head, and sudden jerkings of the body,are often girlish and ungraceful; and hence she appears at times even aukward, notwithstanding the captivating vivacity, and fascinating gaiety she can so well exhibit, and these joined to one of the loveliest figures and faces in the universe. When she has attained a more dignified, or a more respectable deportment, an articulation less varied and rapid, and action more graceful, more impressive and more varied, she will be an excellent actress. The gifts of nature, however lavishly bestowed, are not alone sufficient to the theatrical candidate-The wild rose wastes, its sweetness unnoticed or disregarded; cultivated by art it becomes the ornament of the garden, nature's proudest boast, and the object of universal admiration and desire. In dignified tho' elegant deportment, spiritedness and sprightli ness of action and manner, Dwyer (at the head of our comedians) yields to few in Britain. In certain characters-Belcour, Charles, Wilding, &c. I really think him, (when in the humour to do them justice) almost equal to any on the British boards.- -He is not however at all times equal, or rather, will he always attempt to be so. - Evatt, a sound actor, always perfect, unremitting in his attention to professioual duties, and filling respectably an almost universal range of characters, continues more and more to gain ground in the public estimation. Knox is turning out a tolerable actor, and a more than tolerable singer : Shaw's uncommon accuracy and judgement as a singer would entitle him to the attention of any audience in Britain. to Notwithstanding a short, squab, dumpling like figure, a face broad, round, and capacious as that of a full fed jolly son of the whip, with, a coarse loud voice, Berry possesses such flexibility of features and powers of imitation as frequently to procure the applause of the galleries, and even at times to extort a smile from the boxes. He seems to have a pretty acute perception of the ridicu lous, and in dress and appearance and in manner (indeed the judgement he shews in these augur very favourably of his understanding) can depict to admiration, the broad grin of ideotism, and the most marked distortions of vulgarity. He copies the comic grimaces of Munden, and the laughable whimsicalities of Fawcett so well, as appear original to those who are unacquainted with those eminent performers to the pathos, however, which they can so well assume, he is totally a stranger. Hence he burlesques many characters, by substituting or mistaking for real feeling his own distortions: hence in Job Thornberry, particularly in the great scene, he appears as a mimic taking off some favourite actor, in the broadest style of caricature. His seamen, however, feeling excepted, are from his judgment in dressing, and looking the character, pretty respectable. Indeed on seeing him perform these and similar characters with effect (no matter whether he imitates or not) we are apt to think that some management has been used to induce him to mount others, in which he is necessarily ridiculous. On seeing such a round squab figure with such a face and voice, decked out as a fop, with ribbons and nosegays, frisking and capering, or rather rolling about the stage, we are irresistibly led to think of the aukward gambols of the jackass imitating the spaniel, by jumping upon and caressing his master. But he is an acquisition to a country company, being an excellent buffoon, a good mimic, and of course well adapted for a number of low comic parts, which he makes in his way a treat to the galleries. But as I consider, with Churchill, the whole merit of mimics to consist in distortion; as I view a low comedian who either has not, or never displays original powers, and who is incapable of feeling, as only a respectable jack pudding, it cannot be expected that the merits of Berry should find in me a warm admirer. (It is but fair to state, however, that there are others whose opinions differ much from mine respecting this little son of the comic muse.) I confess, indeed, I would almost in every case dispense with gallery courtiers in legitimate comedy, and consign them to farce, or farcical plays, without much regret. While they, though in the most paltry character of the piece, are as usual capering about the stage, thrusting themselves prominently forward, making mouths to their gallery friends, and to make themselves noticed by them, using all the tricks of a scaramouch; this too in the most interesting pieces, the unity of the scene is totally broken, the grouping of characters spoiled, stage effect destroyed, and the progress of passion wholly interrupted. I cannot close my letter without testifying my approbation generally of Rock's Sir Peter Teazle, and my admiration, not unmingled with surprise, of the pathos displayed by him in the scene (the screen one) with Joseph Surface. VERUS. GLASGOW.-On the 24th of December last, this theatre opened for the winter season, and I regret to say with a company but very mediocre, indeed the greater part of the new levies possess fewer stage requisites than their predecessors, and for several characters, such as Dan, Tyke, &c. we have no representative at all. Neither (with the exception of Mr. Dwyer. whose negligence and defects are great) have we a genteel comedian. No doubt Messrs. Megget and Archer are a valuable acquisition to the company, but then both their abilities appear to most advantage in what is called the heavy line of business, and of course neither of them are fit to represent the accomplished gentleman. In consequence of Mr. Hollingsworth possessing a lit.le round figure, similar to Mr. Rock's, he has been, it is said, dismissed, because the stupid multitude, frequently mistaking one of these gentlemen for the other, foolishly bestowed their applause! In the characters of low comedy, Berry continues to be the darling of the public; but Mr. Rock has usurped Nipperkin and some other parts of his. In justice no manager ought to be an active performer. On all occasions when company is expected at the theatre, we uniformly found Mr. Rock assuming the principal character in both play and farce. Some of these he performs with much credit to himself, and to the satisfaction of the public; others he entirely burlesques. His low Irishmen are in general good, but then he is so greedy of applause-to him it is like meat and drink-he must have it. Let the character he what it may, his usual tricks must be played off, viz. turning up his eyes to the Gods, pulling up his small cloaths-turning himself from the audience and twirling his fingers behind his back ad captandum vulgus. These he finds never fail to produce, from above, a thunder of applause. The female department is also, still very defective. The accomplishments of Mrs. Young (late of Drury Lane) as an actress are too well known to require any eulogium from me, GLASGOW, Feb. 1807. ITALIAN OPERA. LYNX. In the new Opera of Il Retorno di Serse Madame Catalani has much increased her reputation, deservedly high as it was before. The part she performs, is admirably calculated for the display of her transcendant, we may say unrivalled talents as a Vocal Actress In the songs, and in the accompanying Action and Expression she produces the most powerful dramatic Effect. Her first Song is a most beautiful composition, and her Execution of it is beyond all praise. She enters fully into the spirit of her Character; but in the second Act, when her despair is wrought to the greatest height, she exerts her voice so much beyond its natural power, that we can scarcely distinguish the sound she produces from a scream. Her manner here is highly characteristic, but it exceeds all the musical bounds which should be preserved in an Opera. It is certainly surprising, but it does not please, and the natural compass of her voice is fully competent, without "straining harsh discords and unpleasing sharps,” to the most violent expression of the passions. On the whole our admiration of her talents is carried to a much higher pitch, from her performance in this Opera, which we sincerely think has never been equalled, and will never be excelled. |