In Don Felix, Belcour, Charles Surface, and characters of that cast, he stands conspicuous for ease, elegant hilarity, gayety of manners, and vivacity of action. In tragic characters, not only in the fiery, the impassioned, and the grand, but in those of pomp and solemnity, he is said to be original, great, and striking. On his Hamlet and Macbeth the critics seem to have dwelt with peculiar attention and pleasure.
Speaking of Mr. Y’s Hamlet, a learned and perspicuous critic says “A performance exhibiting stronger marks of genius, finer animation, or happier display of intellect we have seldom witnessed. Mr. Young has studied this masterpiece of Shakspeare with infinite care, not merely as to the text and general scope of the character, but throughout all its shades and gradations, discriminating with the utmost truth and nicety, each particular feature of Hamlet, and presenting a whole so finished and forcible, as to leave the strongest impressions on the mind of his audience.” The same critic enters, with a spirit derived from a lively admiration of his subject, into the whole of Mr. Young’s Hamlet, of which he speaks in a strain of warm eulogy. Adverting to the instructions given by Hamlet to the players, he pays Mr. Y. this elegant compliment: “The instructions to the players could not be better delivered. His own sensible performance was an apposite illustration of the excellent lesson which Shakspeare has in this scene bequeathed to the profession.” And he concludes thus: “He is indeed an acquisition of importance. Of intellectual actors we have very few. Strutters and bellowers we have in abundance. We therefore hail Mr. Young’s appearance with more than usual satisfaction; and the more so, since we hear that his manners are highly estimable in private life. On and off the stage he will thus prove an ornament to his profession.”
Mr. Young has played, besides the characters already named, Rolla, Penruddock, Lothaire, Othello, George Barnwell, Octavian, Osmond (Castle Spectre) Hotspur, Frederick in Lovers Vows, Petruchio, Gondebert, and many others, if not all with equal excellence, at least with so much as to rank him among the first masters of the art.
Mr. Young’s face and person are said to be of a superior order. A good height, his figure is well formed; his features expressive and flexible; his voice, from the lowest note to the top of its compass, excellent, and his action and deportment gentlemanly and graceful.
An actress of as great promise as any that has appeared on the British theatre in the memory of man, has lately come forth at Covent Garden, in the arduous character of Lady Macbeth, in which, if we are to trust the London critics, she at once started to a level with Mrs. Siddons. Her name is Smith. She has, like Mrs. Siddons, been on the stage from childhood, without being noticed by any but the happy few, some of whom augured highly of her from the first, and she has fully accomplished their prognostications. The first impressive trace we find of her in theatrical annals is in an Edinburgh criticism. “As I think most highly of this juvenile performer,” says that writer, “and entertain most sanguine hopes of seeing her soon at the head of her profession, I will not insult her by indiscriminate panegyric or mawkish praise. Her comedy is by no means satisfactory to me. The disadvantage of a petite figure is not, in this department compensated by any high excellencies. Her comedy is generally speaking, rather meagre and unadorned, and in a degree pointless and ineffective.—But her tragedy merits every praise. In richness and variety of tone; in propriety and justness of action and gesture; in picturesque and impressive attitude, in a nervous mellowed modulation; in appropriate deportment—above all in the discriminating delicacy of taste, by which she distinguishes and expresses the feelings and workings of the heart, she is above praise.”
Miss Smith next meets us in London in 1808, playing lady Macbeth at Covent Garden, and is spoken of as follows:
“Macbeth by Mr. Kemble so frequently the subject of remark, and often of well-earned eulogy, affords little occasion for notice at this time; but concerning “his NEW partner of greatness”, as there was much to be admired, it is fit that something should be said. A just personification of lady Macbeth is perhaps the most difficult and dangerous undertaking an actress can enter upon: that silent but efficient aid, derived from the contagion of the gentler affections, from pity, sorrow, love; or even from the turbulent emotions of the mind, from anger, jealousy, revenge, “she must not look to have” in the sympathetic bosoms of hearers or spectators; her only operant power is terror, a frigid and unsocial passion, and hence perhaps it is that no actress, at least in modern times, has been found fully adequate to the task; the according testimony indeed of the best living or recent opinions may warrant a belief that Mrs. Pritchard displayed successfully the portraiture of this singular character; but when we hear a performer of our day, whom the public has long and deservedly applauded, extolled as a perfect representative of lady Macbeth, and find this part held forth and distinguished as the pattern of her excellence, true criticism must reject the fallacy of the assertion, and the injustice it imposes upon that great actress herself, who in many other situations of the drama, sustains an eminence above all rivalship; physical defects may often be lessened or concealed; but they will sometimes be too stubborn for the force of art, and thus, in the language of venal compliment, the poet said “Pritchard’s genteel and Garrick’s six feet high” it cannot be denied that the former was eclipsed by the easy elegance of Mrs. Woffington, and the latter overborne by the majestic stature and deportment of Barry. The first appearance of Miss Smith last night in lady Macbeth, could not fail to conjure up, perversely to our mental view, the comparative superiority of Mrs. Siddons’s person; the effect was strong, but it was momentary; a delicate yet powerful and distinct varied voice, a pure, correct, and exemplary enunciation, guided at once by a sound understanding, a correct ear, and a discriminating taste, a frame and expression of features not inferior to that of Mrs. Siddons herself, with action always just and frequently commanding, soon led us to the forgetfulness of her moderate stature, though oppressed, incidentally, by the towering dignity of her lord: It is the duty of an artist to contemplate the works of a renowned predecessor or contemporary with unaffected reverence, but not with servile devotion, and Miss Smith occasionally varied, and with advantage, from the model that was before her. When Macbeth, incited to the murder of Duncan, interposes—“if we should fail,” Mrs. Siddons with cool promptitude replies “we fail.” The punctuation indeed was suggested by Mr. Steevens; but it appears much too colloquially familiar for the temper and importance of the scene; a failure, which here must be ruin, is an idea that could never be urged with temerity or indifference, and we heard the words with more decorum and much better effect from Miss Smith “we fail?” i.e. is it to be supposed that we, possessing as we do, the power to overcome every obstacle, can miscarry? In the sleeping scene too, we have generally observed that the candlestick was deliberately placed upon the table in order to let the lady act the washing her hands more freely, but Miss Smith contrived to represent this action of a dream more naturally with the light in one hand.
Some faults no doubt were discoverable, the most material of which was an emotion of tenderness at times, and a querulous sensibility not proper to the character of lady Macbeth’s cool, deliberate, and inflexible resolution by which the poet has distinguished her. Great allowance is due for the perturbation of the actress in so perilous and trying a situation, and into these, perhaps, much of the objection just hinted may be resolved: enough however was displayed of power, judgment, and execution to warrant a prediction, that as Miss Smith has already advanced to the first class in her profession, lady Macbeth bids fair to rank among the first of her performances.
Master Payne.
From some English papers now in our possession, we find that the fame of this young gentleman has already reached Europe; in such sort too, as in all probability will ensure him a very favourable reception there, if he should be disposed to try the experiment. Even at this time, the intercourse between the two countries is such that nothing worthy of notice passes in one, without being soon known in the other. English gentlemen, who were lately in America, spoke, on their return to London, in such terms of Master Payne’s performances, as if they thought he would eclipse young Betty. However, we hope that the justice of his own country will prevent the necessity of merit such as his seeking encouragement in strange and distant lands.