THE MAN OF THE WORLD
The Examiner.
July 7, 1816.
We are glad to find the Haymarket Theatre re-opened with some good actors from the Winter Theatres, besides recruits. On Monday was played the Man of the World, Sir Pertinax MacSycophant by Mr. Terry. This part was lately performed by Mr. Bibby at Covent-Garden without success; and we apprehend that his failure was owing to the extreme purity and breadth of his Scotch accent. Mr. Terry avoided splitting on this rock, by sinking the Scotch brogue almost entirely, and thus this national caricature was softened into a more general and less offensive portrait of a common Man of the World. On the whole, Mr. Terry gave not only less of the costume and local colouring of the character, but less of the general force and spirit than the former gentleman. He however displayed his usual judgment and attention to his part, with less appearance of effort than he sometimes shews. If Mr. Terry would take rather less pains, he would be a better actor. He is exceedingly correct in the conception of his characters, but in the execution he often takes twice the time in bringing out his words that he ought, and lays double the emphasis on them that is necessary. In the present case, Mr. Terry, probably from feeling no great liking to his part, laid less stress on particular passages, and was more happy on that account. The scene in which he gives the account of his progress in life to his son Egerton, was one of the most effectual. Mrs. Glover’s Lady Rodolpha Lumbercourt had considerable spirit and archness, as well as force. Of the new performers in it we cannot speak very favourably. The young gentleman who played Sydney, a Mr. Baker, seems really a clergyman by profession, and to have left, rather imprudently, the prospect of a fellowship at Oxford or Cambridge. His voice and cadences are good; but they are fitter for the pulpit than the stage.
Mr. Watkinson, on Thursday played Sir Robert Bramble, in the Poor Gentleman, with a considerable share of that blunt native humour, and rustic gentility, which distinguish so large a class of characters on the English stage. We mean that sort of characters who usually appear in a brown bob-wig, and chocolate-coloured coat, with brass buttons. Of this class Mr. Watkinson, as far as we could judge on a first acquaintance, appears to be a very respectable, if not brilliant representative. A Miss Taylor made an elegant and interesting Emily, the daughter of the Poor Gentleman; and Mr. Foote played that personification of modern humanity, the Poor Gentleman himself. There is a tone of recitation in this actor’s delivery, perhaps not ill suited to the whining sentimentality of the parts he has to play, but which is very tiresome to the ear. We might say to him as Caesar did to some one, ‘Do you read or sing? If you sing, you sing very ill.’ We must not omit to mention the part of Miss Lætitia Macnab, which was performed to the life by a Mrs. Kennedy of Covent-Garden Theatre, whom we never saw here before, but whom we shall certainly remember. Her hoop-petticoats, flying lappets, high head-dress, face, voice, and figure, reminded us but too well of that obsolete class of antiquated maidens of old families that flourished about fifty years ago, who had no idea of any thing but the self-importance which they derived from their ancestors, and of the personal attractions which were to be found in the ridiculousness of their dress. The effect was as surprising as it was painful. It was as if Miss Macnab had come in person from the grave. It was like the restoration of the Bourbons!
After this melancholy casualty, we had the Agreeable Surprise. Mrs. Gibbs played Cowslip delightfully. Fawcett was exceedingly laughable in Lingo; and would have been more so, if he had played it with more gravity. Fawcett’s fault of late is, that he has not respect enough for his art. This is a pity; for his art is a very good art. At the scene between him and Mrs. Cheshire, (Mrs. Davenport), the house was in a roar. We never knew before that Lingo and Cowslip were descendants of Touchstone and Audrey. This is one of O’Keeffe’s best farces, and his farces are the best in the world except Moliere’s. O’Keeffe is (for he is still living) our English Moliere, and we here return him our most hearty thanks for all the hearty laughing he has given us. C’est un bon garçon. There are in the Agreeable Surprise some of the most irresistible double entendres that can be conceived, and in Lingo’s superb replication, ‘A scholar! I was a master of scholars!’ he has hit the height of the ridiculous.