THEATRICAL MAGAZINE. 243 surveyor, whose memory will be transmitted to posterity, on account of the clumsy edifice which he erected for the residence of the city's chief magistrates. This, his son, received, it is said, his education at Westminster School, whence he removed to Cambridge, which, it is believed, he left without taking any degree. About that time a severe poetical satire against Sir ROBERT WALPOLE, then minister, appeared under the title of "Are these Things so?" which, though written by Mr. MILLER, was ascribed to POPE. To this young DANCE immediately wrote a reply, called "Yes, they are; what then?" which proved so satisfactory to the person, whose defence was therein undertaken, that he made him a handsome present, and gave him expectations of preferment. Possessing all the vanity of a young author, and all the credulity of a young man, he considered his fortune established, and neglecting every other pursuit, became an attendant at the minister's levees, where he contracted habits of indolence and expense, without obtaining any advantage. The stage now presented itself as an asylum from the difficulties he had involved himself in, and, therefore, assuming the above name, he made his first essay in strolling companies. He afterwards performed at Dublin and Edinburgh, and at the latter place he resided some years as manager. At length he received, in 1762, an invitation to D.L.T. where he continued during the remainder of his life. In 1765, with the assistance of his brother, he erected a new theatre at Richmond, and obtained a license for performing in it, but the success thereof by no means answered his expectations. He died in the beginning of 1774. He neither as actor or author ever attained any degree of excellence: his performance of Falstaff was by much the best. His productions are "Pamela," a comedy, acted at Goodman's Fields, 1742; "The Village Wedding," a pastoral entertainment, acted at Richmond, 1767; and "The Lady's Frolic," a comic opera, acted at D.L. 1770. For Richmond Theatre he THEATRICAL INQUISITION. “The drama and its concerns, performers, their adventures and memoirs, excite a much greater share of curiosity than attaches to any other pursuit or profession. The church, all important as it is; the law, all engrossing, as every one feels it to be; the agricultural interests, whether elevated or depressed, yield in comparison with the stage and its votaries." NEW DRURY LANE THEATRE. Journal of Performances, with Remarks. April 28.-Cymbeline-Chinese Sorcerer. 29.-Guy Mannering-Ibid. 30.Othello-Killing no Murder. May 1 Rob Roy-Halt of the Caravan-Simpson & Co. 2.-Merchant of Venice-Swiss Villagers-Love, Law, and Physic. 3. Marriage of Figaro-Deaf as a Post!-Simpson and Co. 5.-Othello-Chinese Sorcerer. 6.-Cabinet-Killing no Murder. 7.-Hypocrite-Halt of the Caravan-Simpson and Co. 8. Venice Preserved-Marriage of Figaro-Devil to Pay-[Benefit of Mr. YOUNG.] 9.-Guy Mannering-Swiss Villagers-Simpson and Co. 10. Duenna-Halt of the Caravan-Deaf as a Post! 12.-Richard III.-Love, Law, and Physic. 13.-Travellers; or, Music's Fascination-Killing no Murder. So long a period of time had elapsed since the last performance of this piece, and all, but its only bearable part, the music, had so entirely gone from our memory, that we had persuaded ourselves it was really possessed of some merit; but all our former loathing came back upon us as the performance proceeded, and we felt angry with ourselves that we could have been so deceived: there is scarcely in the whole range of the drama a production so dull and trivial as "The Travellers." Without plot or THEATRICAL MAGAZINE. 245 dialogue, with incidents trite, improbable, unconnected, and incoherent, it only appears as an anomalous hideous creation, merely tending to make the stage and the actors ridiculous. The same causes which once recommended it to public favour still remain and prevail. It has the externals of an opera; it has good dancing, good singing, charming scenery, and splendid dresses; and, while it mocks the reason, it ministers not unpleasantly to the senses. For this cause its numerous defects are overlooked, and crowded audiences still appear to feel a pleasure, which, we are certain, can only be derived from the numerous auxiliaries above mentioned, and which are introduced with an unsparing hand. We need say but few words on a piece of this description; in fact, criticism would be useless. Mr. BRAHAM gave the songs, with which the part of Koyan abounds, with unequalled harmony and expression. In "The gratitude I owe," and "The trumpet sounds," and several others, deservedly encored; for he certainly never more advantageously displayed the rare gifts which kind nature has so abundantly bestowed upon him. He introduced also a duet with Miss STEPHENS, written upon PURCELL'S ground, and aided by very agreeable variations: this piece was delightfully executed, and was, we think, one of the most effective in the opera. Miss S. as Celinda gave the original songs with her usual sweetness and power; and introduced, in addition, her own beautiful and favourite air of "Tell me, my heart," from "Henri Quatre," besides several others. Mrs. DAVISON, as the Marchioness Merida, was one of the few persons in the drama who can fairly be called actors, perhaps she and DoWTON [Ben Buntline] were the only ones; her vivacity and animation procured her much applause. FITZWILLIAM'S O'Gallagher was characteristic; he had a new Irish song given him, which he sang effectually. Mr. COOPER (as a daily print facetiously observed) "walked through the part of the Chinese Prince as naturally as if he had been borrowed " iinitated by Miss FORDE as Safie. These are all the characters worth noticing; for the long Dramatis Personæ, with which the opera is filled, from the paucity of the parts, are scarcely deserving even of a general mention; and therefore we take the liberty of dismissing the subject, with merely observing, that the piece was favourably received, and that loud applauses followed the announcement for its repetition. 14.-Cymbeline-Swiss Villagers-87. 10s. 1d. If quite CONVENIENT [1st time.] This farce was unequivocally damned. We have no wish to speak ill of the dead, but we must observe, it was justly treated, being devoid of plot or sense, filled with stale puns, old situations, vile language and sentiments, as disgraceful to the stage as to the performers who uttered them.. 15.-Travellers 16.-Othello-Swiss Villagers-Deaf as a Post! 17.-Grand Selection of Music. 19.-Hamlet Halt of the Caravan-Love, Law, and Physic. In consequence of the sudden indisposition of Miss CUBITT, the part of Ophelia was performed by Miss M. TREE, by permission of the managers of Covent Garden Theatre. 20.-Travellers-Killing no Murder. 21.-Hypocrite-Simpson and Co. 22.-Travellers-All the World's a Stage. Pizarro-Ibid. 23. 24. Travellers-Ibid. 26.-Othello-Deaf as a Post!-Love, Law, and Physic. COVENT GARDEN THEATRE. Journal of Performances, with Remarks. April 28.-Henry VIII.-Harlequin and the Ogress. 29.-Much Ado about Nothing-Marriage of Figaro. 30.-As You Like It-Harlequin and the Ogress-[Benefit of Mr. C. KEMBLE.] THEATRICAL MAGAZINE. 247 A Miss JONES made her first appearance on a London stage in the character of Rosalind with considerable success. Without personal attractions of a very remarkable kind, and with, as we suppose, no great experience in the drama, this lady promises to be an acquisition, and displayed fair pretensions for public favour. The character of Rosalind is an arduous one; to make even a respectable stand in it, is to achieve what would be excellence in any other part. The creation of the poet is so perfect, it presents so rare an assemblage of all that is most admirable and fascinating in the female characterbeauty, youth, wit, high courage, seasoned with maiden modesty, and, withal, an air of such enchanting romance is cast about it, that to fill it adequately requires talents of no ordinary description; it is played too under the disadvantageous comparison which one involuntarily makes between the actress and the beau ideal which one has con.. ceived from the perusal of the play. Notwithstanding these disadvantages, Miss JONES was very happy in many passages of the character, and more than respectable in all of them. She has a correct conception of the part, and displays much good sense and judgment in her manner of delivering it; she seems to possess great natural vivacity, and the forest scenes, in which she plays off her badinage at Orlando, were perhaps the best in the part. Her chief deficiency is her inexperience; she wants grace and manner, and her lack of these made her fail in the expression of that fearlessness and self-possession which belong to the innocence of youth, and which is the distinguishing charm of Rosalind's character: this it is which makes her the prominent person in the drama; this impels her to the romantic enterprise which forms its chief incident; and it is this which commends her so irresistibly to the audience. All that Miss JONES has to learn time and practice will supply; and we have the less doubt of her keeping a high rank in her profession, because she has nothing to unlearn. May 1.-Way to Keep Him-Ibid. |
