Imágenes de páginas
PDF
EPUB

COVENT GARDEN

DEC. 26. A new pantomime followed George Barnwell: it is called "Harlequin Gulliver; or, The Flying Island." All our readers, young and old, who have read the celebrated Dean Swift's amusing and satirical voyages to the islands of Laputa, Lilliput, Brobdingnag, and Glubbdubdrib, need not be told that Gulliver's travels furnished the ground-work of this pantomimic entertainment. When we say the ground-work, we mean, with all due respect for the scenic painters and machinists, who have done their several duties most ably on this occasion. The performance opens with a fine sea view and storm, displaying Gulliver on a barren rock, from which he is removed by the happy intervention of the flying island. He is then scen at the Island of Laputa, and the humour of this part of the piece is kept irresistably alive by a grand procession of the Royal House of Lilliput, and the Lilliputian army, whose correct evolutions drew down universal applause. Gulliver (afterwards Harlequin), Bologna, carries off the Princess Rhomboidilla (afterwards Columbine), Miss F. Dennett, and they are protected by astrologers, who confine them in a terrestrial globe, and afterwards by a talismanic operation bring them again into human life, out of the different signs of the Zodiac, as they revolve in their several orbits. Harlequin from Sagittarius, Columbine from Virgo, Laputa's emperor from the Ram, and the Minister creeps backward from the Crab.-Grimaldi, who plays successively Lord Chancellor of Laputa, and Clown, has a great share of business on his hands. He sets fire to the palace, and assists, as our young readers are aware of, in extinguishing the conflagration. He has also a duet with a cock canary bird, which was an excellent parody on Say, little foolish fluttering thing," in The Padlock, and was encored. It would be rather an excursive, and not perhaps a very intelligible range, to follow this pantomime through all its windings-some of them have no connection with the story on which it is founded, and are introduced for the sake of having a few humorous ovations on the dresses, the habits, and waltzing of our French neighbours, and for the purpose of shewing some exsellent mechanical deceptions and trans

[ocr errors]

formations. Gulliver's intercourse with the people of Brobdingnag is briefly introduced, and the appearance on the stage of this Patagonian race, immediately after the exhibition of Lilliputian size and symmetry, occasioned overwhelming merriment. The Miss Dennetts, introduced a pas de trois with great taste-it was loudly encored. The whole concludes with a grand magnetic fiery temple, which is executed in the most brilliant and magnificent style. The scenery of the pantomime is painted with very fine taste. The views of the French and English coasts are admirable. The machinery worked better than is generally the case on first nights of representation, and the piece went off with great eclat. The ancient practice of having a wellstudied plot for pantomimic exhibitions has been so long discontinued, that we hardly look for its revival; but all those rapid transpositions and transformations, to which the machinist so mainly contributes, and which fill up the space between incidents not easily connected or accounted for, and by that means keep the mind of the spectator in constant activity and exertion, were here very amply supplied, and the whole arrangement, which is under the direction of Mr. Farley, is extremely creditable to his skill and ingenuity. The house was crowded, and the Pantomime given out for repetition with great applause.

JAN. 1. "Retribution."-A new Tragedy from the pen of a Mr. Dillon, a young gentleman of twenty-three or twenty-four years of age, and his first dramatic attempt, was produced here. The following is the plot :

[blocks in formation]

Varanes, King of Persia.. Mr. YOUNG.
Chosroo, his sons
Mr. M'CREADY
Hamed,
Mr. C. KEMBLE
Abdas, a Persian Lord.... Mr. EGERTON.
Mr. ABBOT.
Hafir, his son
Suthes, a captive Chieftain Mr. TERRY.
Sohrab, the King's Cham- Mr. CONNOR.

berlain

....

Kobad, Confident to Chosroo Mr. COMER.
Devah, Slave to Chosroo.. Mr. JEFFRIES.
Zimra, daughter to Suthes Miss O'NEILL,

The date of the tragedy is supposed to be in the fourth century; the scene is Jaid in the royal palace of Chesiphon, the then capital of the Persian dominions, and the time represented is two days. The piece opeus on the anniversary of the accession of Varanes to the

throne; his elder son, Chosroo, returns triumphant from an expedition against one of the rude tribes which inhabit the Carduchian Mountains; among his captives is the Chieftain of the tribe, Suthes, whose daughter, Zimra, had been previously carried off by Chosroo, but had been rescued from him, and was now protected and concealed by Hamed, the younger brother of Chosroo. These two brothers now dispute, and successively obtain possession of the captive Chieftain and his daughter. They are delivered by Varanes to his virtuous son Hamed, but are again forcibly seized by Chosroo, who is found to possess a strong and mysterious hold over the actions of his father, which arises from his knowledge of some fearful crime, of which the latter has been gulity.

The violence of Chosroo against the captives, and his latent designs of treason against the throne, are discovered by Varanes, who seeks Chosroo, when surrounded by his armed slaves, awes him into temporary fear, and commands him to desist from his purposes; Chosroo, however, whose love is indignantly rejected by Zimra, confines her and her father in separate dungeons.

Hafir, with his father, Abdas, and the King's Chamberlain, Shorab, had, in the previous part of the play, found Varanes senseless, and on his recovery had beard fall from him frantic expressions, which convinces the former of these (Hafir, an impetuous young man,) that Varanes had mounted the throne by the murder of his brother and predecessor, Sapor; he insults Hamed with the charge, who flying to his father, Varanes, to inquire into its truth, finds it confirmed. Hamed, found by Chosroo standing over his fainting father, is now charged by him with the murder of Varaues, whose body is carried_off – Hamed, together with Suthes, charged also with treasonable designs, are on the point of being led to execution, notwithstanding the prayers and entreaties of Zimra, when it was found that the body, brought in as that of the King, is, in fact, that of a slave, who had been commissioned by Chosroo to destroy him; the life of the King having been saved by Hafir, while endeavouring to rescue Suthes aud Zimra. Varanes now re-appears, orders Chosroo to execution; discovers" Retribution" for his own crime in the misconduct and guilt of his son, and dies exhausted and heart-bro

ken. Hamed and Zimra mount together the throne of Persia, and the curtain falls.

Our general impression with regard to" Retribution," is, that it is a production of great promise. We noticed many fine touches, and many passages of the highest poetical beauty. It is true that the plot is defective, and several of the incidents improbable, while others bear too close a resemblance to a very recent play. But still it is the genius displayed by the Author on which we formed our opinion of his future success as a dramatic writer. The piece is splendidly got up, and the performers did the most ample justice to their respective parts.

JAN. 7. Shakspeare's Comedy of Twelfth Night has been likewise revived, in allusion, we suppose, to the season. If we could all dream as Shakspeare dreams, who would not wish to sleep? The powers of this poet are so wonderful, that something new breaks out upon us every time he is seen and read. But this is one of his productions in which all performance must necessarily play behind the fancy of the author. It is painting to the imagination. The poet, walking by a haunted stream, transcribes the imagery of his mind into his tablet; the play is therefore wild, beautiful, and abrupt; in a word, one of those which will be always read with wonder, aud seen with pleasure.

JAN. 8. "Artaxerxes" was re-produced, in a style and manner very honourable to the liberality of the managers. Never was so foolish an opera supported by such magnificent music, We are not acquainted with Metastasio in his Italian original; but if this English version in any degree cor. responds with the original opera, Metastasio himself is only a worthy poet in a nation of fiddlers. We do not say this from any British contempt of modern Italians. Dante, Tasso, and Ariosto, are exceeded only by our Milton, Pope, and Dryden; Petrarch, in his own peculiar line, exceeds any one we have to produce against him; and if the licentiousness of Boccacio would permit us in honesty to praise him, we would add that he unites the life and fidelity of our best comic writers to the fancy and colouring of our best poets. But Metastasio- perhaps, however, it is unfair to judge him from this Artaxerxes.

But the music by Arne more than compensates for the wretched poetry of the recitative. We have nothing like it, except in the Comus by the same composer. It is of the English school through all its variety of tones, and proves of what our national music is capable. Hence, when worthily represented, it is always well received, and by the force of its music has borne up its bad poetry for an hundred years. Braham, in Arbuces, was all that the audience could wish; it afforded him ample means for the display of his inimitable powers, and he used all his

means.

Miss Stephens sung with her usual taste and sweetness. It is a true musical treat to hear Braham and this lady at the same time.

Duruset was much applauded in Artaxerxes.

Iucledon was much missed in Artabanes: this character was his chef d'œuvre. Taylor might have supplied his place with credit.

After the Opera of Artaxerxes, a new dramatic piece, in one act, called "Three Miles from Paris," was represented for the first time. It is one of those trifles which, to animadvert on seriously, would be like breaking a butterfly on the wheel. The main object of the piece is to exhibit Mr. Denaing in a variety of characters, probably attempted from a recollection of the great success attendant on The Actor of All Work.

The plot (if such it can be called) is simply this:-Motley (Mr. Denning), servant to a Colonel in an English regiment, falls in love with Louisa (Miss Mathews), the niece of a rich widow (Mrs. Davenport), who keeps a tavern at the distance of three miles from Paris. His great object is a desire to convey a letter to his beloved, for which purpose he assumes the character of a French courier, an English grenadier, an author, and a sailor. The aunt contrives always to be present at their interviews, and detects every attempt

[blocks in formation]

to deliver the love-billet, except the last. The tar, by climbing up the signpost, and throwing down his hat, which he requests the aunt to pick up, avails himself of the opportunity to give the letter to Louisa, who is seated at an adjoining window. His master arrives at this juncture of time; the niece clopes, and the parties are married.

The dialogue is sprightly, and occasional bursts of loyalty run through the whole. We are sorry to say that Mr. Denning's performance did not partake of the sprightliness. The part of the French courier was decidedly the best ; the mixture of broken English and coarse French was well managed. The author was flat and uninteresting: and although he was travelling with the laudable view of paying his creditors with the profits arising from the sale of his intended tour, we augur, that if his writing be no better than his acting, they will be little benefited.

It was, on the whole, quite as well received as its merits deserved, and when announced for a repetition, the sense of the house was most decidedly against it.

"The Point of Honour," a Drama in three acts, has been revived, when Miss O'Neill appeared, for the firsttime, in the part of Bertha, and as the situation is good, whatever may be the dialogue, she represented it with her usual vigour. The other characters in this piece acted as well as their several parts would admit.

Lury Bertram, the part in " Guy Mannering,” usually undertaken by Miss Stephens, was on the 24th inst. performed by a Mrs. Garrick, from the Liverpool theatre. This lady, both as an actress and a singer, displays considerable selfpossession and experience of the stage. Her voice and style are good, and her musical talent is far above mediocrity; some of her upper notes are a litile harsh and imperfect, but her lower ones are remarkable for smoothness and flexibility.

PERFORMANCES.

Harlequin Gulliver or

[blocks in formation]
[blocks in formation]

THE SURREY THEATRE.

DEC. 29.-A crowded audience, on this evening, again gave testimony to the very superior merit of the various performances with which this Theatre recently opened, and which have commanded success, because they so peculiarly deserved it. The Christmas Tale" (originally produced at the Theatre Royal, Drury-Lane, while under the management of Mr. Garrick) consists in the love of Floridor for Camilla, for whose sake he vanquishes a host of demons, formerly held captive by his father, and to whom his imprudence had given freedom. The hand of Camilla is promised as the reward of their subjection. Love and valour triumphs, the Sorcerer is overthrown, and the piece concludes with the union of the lovers, in a splendid scene of Bonoro's Fairy Region.

In alluding to the very powerful exertions of all the performers, we cannot omit noticing the highly successful debut of Miss Cherry, late of Drury-Lane, who gives flattering promise of powers which will be an acquisition to any stage. The speaking Pantomime of the "Touchstone, or Harlequin Traveller," opens with an aërial combat between two Genii. The evil spirit is victorious, and his discomfited rival is, by the power of his art, plunged into the cleft trunk of a withered oak. From this imprisonment she is, however, speedily released by Harlequin, and in addition to the magic sword, usually presented on such occasions, rewards her deliverer with a talismanic touchstone, which has the power of extorting truth from all on whom its potency is exercised. The pleasantry and witticisms, arising from its effect on the various characters, are highly entertaining throughout the progress of the piece; and Harlequin Traveller proceeds in the usual routine of a pantomimic journey in various parts of France and England, until his adventures terminate in the magic abode of the Fairy

Feridon.

Columbine, and that the more subor

dinate characters were equally well supported, we need add nothing more relative to its performance. The holiday audience were also entertained with the terrific evolutions of Mr. Mackintosh on the Corde l'olante, and a whimsical Ballet, which displayed to much advantage the talents of Miss Simpson, and Messrs. Giroux, Kirby, and Dore. The scenery and dresses are in every respect worthy of this Theatre's former fame, and are equally splendid and appropriate in all of the evening's entertainments.

JAN. 5, 1818.-In addition to the amusements of last week, a new grand serious Melo Drame was produced tonight, under the title of "The Knights of the Lion," and was received with every applause which its most sanguine friends could have anticipated. Clotilda, Countess de Neuberg, is accused of the murder of her husband and infant son, and the interesting plot of the piece arises from the developement of her innocence, and the discovery of her accuser's guilt; many of the situations are highly dramatic, and the denouement is most powerfully effective. Miss Taylor, Mr. Huntley, and Mr. Cordell, made their first appearance this season, in characters well suited to their re spective talents; and the scenery and machinery amply merited the applause with which the entire performance was received by an overflowing audience.

JAN. 12.-The admirable Burlesque of "Don Giovanni" was revived with every eclât which attended its unprecedented popularity when first produced.

JAN. 19.At this Theatre novelty is the order of the day, or rather of the night, for we were this evening gratified with the performance of a new Burletta, entitled "Tom Jones, or the Foundling." When we state, that the outline of Fielding's admirable Novel is strictly adhered to, and that it was supported by all the strength of Mr. DIBDIN's corps dramatique, it is almost needless to add, that it was pre-eminently successful, and continues to draw crowded houses. Huntley's Tom Jones, and indeed all the principal characters, were supported in a way that reflected no less credit on the performers than on the manager. PERFORMANCES.

This laughable extravaganza is an altered revival of a Pantomime written by Mr. Dibdin's justly celebrated father, and is reproduced with new incidents and dialogue more suited to the present day. When we say that Fitzwilliam and Mrs. Bryan were the Harlequin and

1817.
Dec. 26, to Jan. 3, 1818. Christmas Tale-Love and
Lancet-The Touchstone or Harlequin
Traveller.

Jan. 5 to 11. Love and Lancet-Knights of the
Lion-Touchstone - Christmas Tale.

1818.

Jan. 12 to 17. Christmas Tale-Don Giovanni-
Knights of the Lion.

Jan. 19 to 24. Love and Lancet-Tom Jones or The
Foundling-Knights of the Lion.

THE REMONSTRANCE.

POETRY.

RY THE LATE GOVERNOR FRANKLIN.*

Thou canst not reach so rich a prize
In Pleasure's gayest Paradise!

WHEN Phoebus heard Ida a recipe Midst sands that sparkle in my glass

He vow'd by old Styx to retaliate the deed;
Then hasten'd to fam'd Epidaurus's top,
Where grave Esculapius first opened his
shop.

"My son!" cried the God, "are you
weary of trade,

That thus your prescriptions in verse are array'd?

My credit and yours must be fast growing

worse,

If poets teach physic and chymists learn

verse.

Prescriptions! believe me no mortal will need 'em,

If poets can write, and a lady can read 'em!

Let lovers for smooth-sounding syllables seek,

But wisdom should thunder in Hebrew or

Greek,

Besides, what disgrace to the Muses and me, If doctors join med'cine and verse for a fee!

Man's kneil will be rung in poetical chime, And death-warrants sign'd in hexameter rhyme."

The God of the Pestle and Mortar replied,
"Not me, but fair Ida, Apollo should chide;
She rivals my skill with a whim or a jest,
And keeps for my patients a new med'cine-
chest.

But let not my foes on her promise rely-
Such smiling physicians cheat ofter than I:
Their spells may bid head-aches and heart-
aches depart,

But take for their fees both the head and the
heart."

W

TIME TO BEAUTY.

HILE others grace thy natal day
With festive dance and song,

A pilgrim leaves his lonely way

To mingle in the throng:
When thou art near, a ling'ring pace,
A scanty lock, a wrinkled face,

No more to me belong;

For smiling Beauty best can prove
How swift my silver pinions move.
I will not boast how oft and bright
This day I mean to bring,
Tho' many a downy plume last night
Thy bounty gave my wing.
Thy hand my rosy crown bestow'd-
To thee my sparkling glass I ow'd,
Now take my offering:

1

* Sent in his 80th year, in reply to a versified prescription.

No purer gem find

The rest may glitter, break, and pass,
But this remains behind;
Pride may the modest pearl disdain,
Or Love a brittle semblance feign,'
But Pride and Love are blind;
They mock my pow'r, yet I alone
Their fraudful counterfeits make known.
Receive my gift!-of Nature's wealth
Thy mind has ample store;

Of Pleasure. Honour, Hope, and Health,
I cannot give thee more.

The gem which none of these can buy
Will youth's ethereal light supply,

When thou like me art hoar;
1 give what Fortune cannot lend-
Time, only Time reveals a friend!

Jan. Ist.

CHRONOS.
V.

THE DIRGE OF ROYALTY. "She pass'd-like a dream of the morn ing."

OH! say not that the fairest flower

That bloom'd in Albion's princely
bower,

The flower we loved, and cherish'd most,
Is nipp'd by Fate's untimely frost-
Oh! say not, that our star of light,
Which shone, in native splendour bright,
Hath quench'd its beams in CHARLOTTE'S

grave,

As sinks the sun beneath the wave.
Yes! like that glorious orb, whose rays
Seem holier in their parting blaze,
Than when, o'erpowering every eye,
They glow in noontide majesty,-
Her gentler spirit seem'd to shed
More radiance round her dying bed,
That when, so late, we saw her move
The idol of our pride and love.

Stranger!-if thou wouldst seek to learn
The praise that must not stain her urn,
Go-read it in the altered cheek

Of those who weep.-but cannot speak.-
Go, ask yon Briton, whence the grief
That seems to rend, yet mock relief?
Unbidden tears will swell his eye,
And sorrow speak his heart's reply.
Blest saint!-if from thy glorious sphere
Thou look'st on aught that loved thee here,
Thou'lt grieve,-if angels griet can know,–
For those thus left to mourn below;-
Thy country's hopes thus withering fast,
Beneath affliction's chilling blast.

All bounteous Heaven!-whose chasten-
ing hand

Thus sorely smites an erring land,
Abasing her high soul of pride,-
In mercy turn thy wrath aside.

« AnteriorContinuar »