To turn to something less serious. We have not the same pomp of tragedy nor the same gentility, variety, and correctness in comedy. There was the gay, fluttering, hair-brained Lewis; he that was called ‘Gentleman Lewis,’—all life, and fashion, and volubility, and whim; the greatest comic mannerist that perhaps ever lived; whose head seemed to be in his heels, and his wit at his fingers’ ends: who never let the stage stand still, and made your heart light and your head giddy with his infinite vivacity, and bustle, and hey-day animal spirits. We wonder how Death ever caught him in his mad, whirling career, or ever fixed his volatile spirit in a dull caput mortuum of dust and ashes? Nobody could break open a door, or jump over a table, or scale a ladder, or twirl a cocked hat, or dangle a cane, or play a jockey-nobleman, or a nobleman’s jockey, like him. He was at Covent Garden. With him was Quick, who made an excellent self-important, busy, strutting, money-getting citizen; or crusty old guardian, in a brown suit and a bob wig. There was also Munden, who was as good an actor then, as he is now; and Fawcett, who was at that time a much better one than he is at present. He, of late, seems to slur over his parts, wishes to merge the actor in the manager, and is grown serious before retiring from the stage. But a few years back (when he ran the race of popularity with Jack Bannister) nobody could give the view holla of a fox-hunting country squire like him; and he sung AMO AMAS, as Lingo in the Agreeable Surprise, in a style of pathos to melt the heart of the young apprentices in the two shilling gallery. But he appears to have grown averse to his profession, and indifferent to the applause he might acquire himself, and to the pleasures he used to give to others. In turbulent and pragmatical characters, and in all that cast of parts which may be called the slang language of comedy, he hardly had his equal. Perhaps he might consider this walk of his art as beneath his ambition; but, in our judgment, whatever a man can do best, is worth his doing. At the same house was little Simmons, who remained there till lately, like a veteran at his post, till he fell down a flight of steps and broke his neck, without any one’s seeming to know or care about the matter. Though one of those ‘who had gladdened life,’ his death by no means ‘eclipsed the gaiety of nations.’ The public are not grateful. They make an effort of generosity, collect all their reluctant admiration into a heap, and offer it up with servile ostentation at the shrine of some great name, which they think reflects back its lustre on the worshippers. Or, like fashionable creditors, they pay their debts of honour for the eclat of the thing, and neglect the claims of humbler but sterling merit; such as was that of Simmons, one of the most correct, pointed, naive, and whimsical comic actors, we have for a long time had, or are likely to have again. He was not a buffoon, but a real actor. He did not play himself, nor play tricks, but played the part the author had assigned him. This was the great merit of the good old style of acting. He fitted into it like a brilliant into the setting of a ring, or as the ring fits the finger. We shall look for him often in Filch, in which his appearance was a continual double entendre, with one eye leering at his neighbour’s pockets, and the other turned to the gallows:—also in the spangled Beau Mordecai, in Moses, in which he had all the precision, the pragmaticalness, and impenetrable secresy of the Jew money-lender; and in my Lord Sands, where he had all the stage to himself, and seemed to fill it by the singular insignificance of his person, and the infinite airs he gave himself. We shall look for him in these and many other parts, but in vain, or for any one equal to him.
At the other house, there was King, whose acting left a taste on the palate, sharp and sweet like a quince; with an old, hard, rough, withered face, like a John-apple, puckered up into a thousand wrinkles; with shrewd hints and tart replies; ‘with nods and becks and wreathed smiles;’ who was the real amorous, wheedling, or hasty, choleric, peremptory old gentleman in Sir Peter Teazle and Sir Anthony Absolute; and the true, that is, the pretended, clown in Touchstone, with wit sprouting from his head like a pair of ass’s ears, and folly perched on his cap like the horned owl. There was Parsons too, whom we just remember like a worn-out ‘suit of office’ in Elbow; and Dodd in Acres, who had the most extraordinary way of hitching in a meaning, or subsiding into blank folly with the best grace in nature; and whose courage seemed literally to ooze out of his fingers in the preparations for the duel. There was Suett, the delightful old croaker, the everlasting Dicky Gossip of the stage; and, with him, Jack Bannister, whose gaiety, good humour, cordial feeling, and natural spirits, shone through his characters, and lighted them up like a transparency. Bannister did not go out of himself to take possession of his part, but put it on over his ordinary dress, like a surtout, snug, warm, and comfortable. He let his personal character appear through; and it was one great charm of his acting. In Lenitive, in the Prize, when the beau is ingrafted on the apothecary, he came out of his shell like the aurelia out of the grub; and surely never lighted on the stage, which he hardly seemed to touch, a more delightful vision—gilding, and cheering the motley sphere he just began to move in—shining like a gilded pill, fluttering like a piece of gold-leaf, gaudy as a butterfly, loud as a grasshopper, full of life, and laughter, and joy. His Scrub, in which he spouts a torrent of home-brewed ale against the ceiling, in a sudden fit of laughter at the waggeries of his brother Martin;—his Son-in-law; his part in the Grandmother; his Autolycus; his Colonel Feignwell; and his Walter in the Children in the Wood, were all admirable. Most of his characters were exactly fitted for him—for his good-humoured smile, his buoyant activity, his kind heart, and his honest face: and no one else could do them so well, because no one else could play Jack Bannister. He was, some time since, seen casting a wistful eye at Drury-lane theatre, and no doubt thinking of past times: others who also cast a wistful eye at it, do not forget him when they think of old and happy times! There were Bob and Jack Palmer, the Brass and Dick of the Confederacy; the one the pattern of an elder, the other of a younger brother. There was Wewitzer, the trustiest of Swiss valets, and the most ‘secret Tattle’ of the stage. There was, and there still is, Irish Johnstone, with his supple knees, his hat twisted round in his hand, his good-humoured laugh, his arched eye-brows, his insinuating leer, and his lubricated brogue, curling round the ear like a well oiled mustachio. These were all the men. Then there was Miss Farren, with her fine-lady airs and graces, with that elegant turn of her head, and motion of her fan, and tripping of her tongue; and Miss Pope, the very picture of a Duenna, a maiden lady, or an antiquated dowager—the latter spring of beauty, the second childhood of vanity, more quaint, fantastic, and old-fashioned, more pert, frothy, and light-headed than any thing that can be imagined; embalmed in the follies, preserved in the spirit of affectation of the last age:—and then add to these, Mrs. Jordan, the child of nature, whose voice was a cordial to the heart, because it came from it, rich, full, like the luscious juice of the ripe grape; to hear whose laugh was to drink nectar; whose smile ‘made a sunshine,’ not ‘in the shady place,’ but amidst dazzling lights and in glad theatres:—who ‘talked far above singing,’ and whose singing was like the twang of Cupid’s bow. Her person was large, soft, and generous like her soul. It has been attempted to compare Miss Kelly to her. There is no comparison. Miss Kelly is a shrewd, clever, arch, lively girl; tingles all over with suppressed sensibility; licks her lips at mischief, bites her words in two, or lets a sly meaning out of the corners of her eyes; is fidgetty with curiosity, or unable to stand still for spite:—she is always uneasy and always interesting; but Mrs. Jordan was all exuberance and grace, ‘her bounty was as boundless as the sea; her love as deep.’ It was her capacity for enjoyment, and the contrast she presented to every thing sharp, angular, and peevish, that communicated the same genial heartfelt satisfaction to the spectator. Her Nell, for instance, was right royal like her liquor, and wrapped up in measureless content with lambs’ wool. Miss Kelly is a dextrous knowing chambermaid: Mrs. Jordan had nothing dexterous or knowing about her. She was Cleopatra turned into an oyster-wench, without knowing that she was Cleopatra, or caring that she was an oyster-wench. An oyster-wench, such as she was, would have been equal to a Cleopatra; and an Antony would not have deserted her for the empire of the world!
From the favourite actors of a few years back, we turn to those of the present day: and we shall speak of them, not with grudging or stinted praise.
The first of these in tragedy is Mr. Kean. To show that we do not conceive that tragedy regularly declines in every successive generation, we shall say, that we do not think there has been in our remembrance any tragic performer (with the exception of Mrs. Siddons) equal to Mr. Kean. Nor, except in voice and person, and the conscious ease and dignity naturally resulting from those advantages, do we know that even Mrs. Siddons was greater. In truth of nature and force of passion, in discrimination and originality, we see no inferiority to any one on the part of Mr. Kean: but there is an insignificance of figure, and a hoarseness of voice, that necessarily vulgarize, or diminish our idea of the characters he plays: and perhaps to this may be added, a want of a certain correspondent elevation and magnitude of thought, of which Mrs. Siddons’s noble form seemed to be only the natural mould and receptacle. Her nature seemed always above the circumstances with which she had to struggle: her soul to be greater than the passion labouring in her breast. Grandeur was the cradle in which her genius was rocked: for her to be, was to be sublime! She did the greatest things with child-like ease: her powers seemed never tasked to the utmost, and always as if she had inexhaustible resources still in reserve. The least word she uttered seemed to float to the end of the stage: the least motion of her hand seemed to command awe and obedience. Mr. Kean is all effort, all violence, all extreme passion: he is possessed with a fury, a demon that leaves him no repose, no time for thought, or room for imagination. He perhaps screws himself up to as intense a degree of feeling as Mrs. Siddons, strikes home with as sure and as hard a blow as she did, but he does this by straining every nerve, and winding up every faculty to this single point alone: and as he does it by an effort himself, the spectator follows him by an effort also. Our sympathy in a manner ceases with the actual impression, and does not leave the same grand and permanent image of itself behind. The Othello furnishes almost the only exception to these remarks. The solemn and beautiful manner in which he pronounces the farewell soliloquy, is worth all gladiatorship and pantomime in the world. His Sir Giles is his most equal and energetic character: but it is too equal, too energetic from the beginning to the end. There is no reason that he should have the same eagerness, the same impetus at the commencement as at the close of his career: he should not have the fierceness of the wild beast till he is goaded to madness by the hunters. Sir Giles Mompesson (supposed to be the original character) we dare say, took things more quietly, and only grew desperate with his fortunes. Cooke played the general casting of the character better in this respect: but without the same fine breaks and turns of passion. Cooke indeed, compared to Kean, had only the slang and bravado of tragedy. Neither can we think Mr. Kemble equal to him, with all his study, his grace, and classic dignity of form. He was the statue of perfect tragedy, not the living soul. Mrs. Siddons combined the advantage of form and other organic requisites with nature and passion: Mr. Kemble has the external requisites, (at least of face and figure) without the internal workings of the soul: Mr. Kean has the last without the first, and, if we must make our election between the two, we think the vis tragica must take precedence of every thing else. Mr. Kean, in a word, appears to us a test, an experimentum crucis, to shew the triumph of genius over physical defects, of nature over art, of passion over affectation, and of originality over common-place monotony.—Next to Mr. Kean, the greatest tragic performer now on the stage is undoubtedly Miss O’Neill. She cannot take rank by the side of her great predecessor, but neither can any other actress be at all compared with her. If we had not seen Mrs. Siddons, we should not certainly have been able to conceive any thing finer than some of her characters, such as Belvidera, Isabella in the Fatal Marriage, Mrs. Beverly, and Mrs. Haller, which (as she at first played them) in tenderness of sensibility, and the simple force of passion, could not be surpassed. She has, however, of late, carried the expression of mental agony and distress to a degree of physical horror that is painful to behold, and which is particularly repulsive in a person of her delicacy of frame and truly feminine appearance.—Mrs. Bunn is a beautiful and interesting actress in the sentimental drama; and in the part of Queen Elizabeth, in Schiller’s Tragedy of Mary Stuart, which she played lately, gave, in the agitation of her form, the distracted thoughts painted in her looks, and the deep but fine and mellow tones of her voice, earnest of higher excellence than she has yet displayed. Her voice is one of the finest on the stage. It resembles the deep murmur of a hive of bees in spring-tide, and the words drop like honey from her lips.—Mr. Macready is, in our opinion, a truly spirited and impassioned declaimer, with a noble voice, and great fervour of manner; but, we apprehend, his forte is rather in giving a loose to the tide of enthusiastic feeling or sentiment, than in embodying individual character, or discriminating the diversity of the passions. There is a gaiety and tip-toe elevation in his personal deportment, which Mr. Kean has not, but in other more essential points there is no room for competition. Of his Coriolanus and Richard, we may have to speak in detail hereafter.
We shall conclude this introductory sketch with a few words on the comic actors. Emery at Covent Garden might be said to be the best provincial actor on the London boards. In his line of rustic characters he is a perfect actor. He would be a bold critic who should undertake to show that in his own walk Emery ever did any thing wrong. His Hodge is an absolute reality; and his Lockitt is as sullen, as gloomy, and impenetrable as the prison walls of which he is the keeper. His Robert Tyke is the sublime of tragedy in low life.—Mr. Liston has more comic humour, more power of face, and a more genial and happy vein of folly, than any other actor we remember. His farce is not caricature: his drollery oozes out of his features, and trickles down his face: his voice is a pitch-pipe for laughter. He does some characters but indifferently, others respectably; but when he puts himself whole into a jest, it is unrivalled.—Munden with all his merit, his whim, his imagination, and with his broad effects, is a caricaturist in the comparison. He distorts his features to the utmost stretch of grimace, and trolls his voice about with his tongue in the most extraordinary manner, but he does all this with an evident view to the audience: whereas Liston’s style of acting is the unconscious and involuntary; he indulges his own risibility or absurd humours to please himself, and the odd noises he makes come from him as naturally as the bleating of a sheep.—Elliston is an actor of great merit, and of a very agreeable class: there is a joyousness in his look, his voice, and manner; he treads the stage as if it was his ‘best-found, and latest as well as earliest choice;’ writes himself comedian in any book, warrant, or acquittance; hits the town between wind and water, between farce and tragedy; touches the string of a mock heroic sentiment with due pathos and vivacity; and makes the best strolling gentleman, or needy poet, on the stage. His Rover is excellent: so is his Duke in the Honeymoon; and in Matrimony he is best of all.—Dowton is a genuine and excellent comedian; and, in speaking of his Major Sturgeon, we cannot pass over, in disdainful silence, Russell’s Jerry Sneak, and Mrs. Harlowe’s Miss Molly Jollop. Oxberry is an actor of a strong rather than of a pleasant comic vein (his Mawworm is particularly emphatical). Harley pleases others, for he seems pleased himself; and little Knight, in the simplicity and good nature of the country lad, is inimitable.
Of the particular parts in which these and other performers display their talents to advantage, we must speak in future articles on this subject; as well as of the merits of the modern drama itself; the management of our theatres; and a variety of other topics, to which we propose to give the best attention in our power—determined neither to ‘extenuate, nor set down aught in malice.’
L. M.
No. II
[February, 1820.
Since we wrote a former article on this subject, the stage has lost one of its principal ornaments and fairest supports, in the person of Miss O’Neill. As Miss Somerville changed her name for that of Mrs. Bunn, and still remains on the stage, so Miss O’Neill has altered hers for Mrs. Beecher, and has, we fear, quitted us for good and all. ‘There were two upon the house-top: one was taken, and the other was left!’ Though, on our own accounts, we do not think this ‘a consummation devoutly to be wished,’ yet we cannot say we are sorry on her’s. Hymen has, in this instance, with his flaming torch and saffron robe, borne a favourite actress from us, and held her fast, beyond the seas and sounding shores, ‘to our moist vows denied’: but, whatever complaints or repinings have been heard on the occasion, we think Miss O’Neill was in the right to do as she has done. Fast bind fast find, is an old proverb, and a good one, and is no doubt applicable to both sexes, and on both sides of the water. A husband, like death, cancels all other claims, and we think, more especially, any imaginary and imperfect obligations, (with a clipt sixpence, and clap hands and a bargain) to the stage or to the town. Miss O’Neill, (for so her name may yet linger on our tongues) made good her retreat in time from the world’s ‘slippery turns,’ and we are glad that she has done so. It is better to retire from the stage, when young, with fame and fortune, than to have to return to it when old (as Mrs. Crawfurd, Mrs. Abington, and so many others have done) in poverty, neglect, and scorn. There is no marriage for better and for worse to the public; it is but a ‘Mr. Limberham, or Kind Keeper,’ at the very best: it does not tie itself to worship its favourites, or ‘with its worldly goods them endow,’ through good report, or evil report, in sickness or in health, ‘till death them do part.’ No such thing is even thought of: they must be always young, always beautiful, and dazzling, and allowed to be so; or they are instantly discarded, and they pass from their full-blown pride, and the purple light that irradiates them, into ‘the list of weeds, and wornout faces.’ If a servant of the theatre dismisses himself without due warning, it makes a great deal of idle talk: but, on the other hand, does the theatre never dismiss one of its servants without formal notice, and is any thing then said about it? How many old favourites of the town—that many-headed abstraction, with new opinions, whims, and follies ever sprouting from its teeming brain; how many decayed veterans of the stage, do we remember, in the last ten or twenty years, laid aside ‘in monumental mockery’; thrown from the pinnacle of prosperity and popularity, to pine in poverty and obscurity, their names forgotten, or staring in large capitals, asking for a benefit at some minor theatre! How many of these are to be seen, walking about with shrunk shanks and tattered hose, avoiding the eye of the stranger whom they suppose to have known them in better days; straggling through the streets with faultering steps, and on some hopeless errand,—with sinking hearts, or heart-broken long ago:—engaged, dismissed again, tampered with, tantalised, trifled with, pelted, hooted, scorned, unpitied: performing quarantine at a distance from the centre of all their hopes and wishes, as if their names were a stain on their former reputations;—or perhaps received once more,—tolerated, endured out of charity, in the very places that they once adorned and gladdened by their presence!—And all this, often without any fault in themselves, any misconduct, any change, but in the taste and humour of the audience; or from their own imprudence, in not guarding (while they had the opportunity) against the ingratitude and treachery of that very public, that claims them as its property, and would make them its slaves and puppets for life—or during pleasure! We might make out a long list of superannuated pensioners on public patronage, who have had the last grudging pittance of favour withdrawn from them, but that it could do no sort of good, and that we would not expose the names themselves to the gaze and wonder of vulgar curiosity. We are only not sorry that Miss O’Neill has put it out of the power of the Nobility, the Gentry, and her Friends in general, to add her name to the splendid, tarnished list; and that she cannot, like so many of her predecessors, be chopped and changed, and hacked, and banded about, in tragedy, or in comedy, in farce or in pantomime, in dance or song, at the Surry, or the Cobourg, or the Sans Pareil Theatres; or even be sent to mingle her silvery cadences with Mr. Kean’s hoarse notes at Old Drury!