William E. Burton: Actor, Author, and Manager / A Sketch of his Career with Recollections of his Performances

by William L. Keese

To continue with Dickens: there were Squeers and Sam Weller, both capital in their way—the last, however, lacking, as it seemed to us, in true Wellerian flavor; but the Squeers was marked by an appreciative recognition of the schoolmaster's grim traits; and the scene at Dotheboys Hall was admirably given; Mrs. Hughes, as Mrs. Squeers, "made up" to the life, and irresistible in her distribution of the treacle.

All these portraits from the pages of Dickens were so many meritorious presentments of the novelist's creations, and would have won enduring fame for an actor of smaller calibre; the truth is, in Mr, Burton's case, that his Bumble, Squeers, and Weller were but dimly seen, owing to the greater glory of his Cuttle and Micawber.

We saw Mr. Burton as Bob Acres, in "The Rivals"; as Tony Lumpkin, in "She Stoops to Conquer"; as Goldfinch, in "The Road to Ruin"; as Doctor Ollapod, in "The Poor Gentleman"; as Sir George Thunder, in "Wild Oats"; as Job Thornberry, in "John Bull"; as Sir Oliver Surface, in "The School for Scandal"; as Graves, in Bulwer's "Money"; as the Mock Duke, in "The Honeymoon"; as Adam Brock, in "Charles XII."; as Van Dunder, in "The Dutch Governor"; as John Smith, in "Nature's Nobleman"; as Mr. Sudden, in "The Breach of Promise"; as Thomas Trot, in "Paris and London"; as Don Ferolo Whiskerandos, in "The Critic" of Sheridan; as Triplet, in "Masks and Faces";—certainly a gallery of dramatic portraits that would put to the test the highest order of ability; and we feel bound to say that Burton passed the ordeal well deserving the encomiums that were bestowed upon his efforts. It would be too much to expect that all these delineations were even in points of conception and execution; yet all were entitled to respectful consideration, and many were masterpieces. We will endeavor to go through them briefly, in remembrance of the happy hours we owe to their joyous influence.

The recent appearance of Jefferson as Bob Acres has aroused a new interest in the character, and from all accounts the performance was more than equal to expectation, and has enhanced the reputation of the comedian. We hope to have the pleasure of seeing Mr. Jefferson in due time, and we fancy that his acting of Acres would refresh somewhat our recollection of Burton in the part. As it is, however, we cannot vouch for a clear memory of Burton's Acres. We saw it but once, and then early in life, when we were new to the theatre; and all we seem to remember is that he was very funny with his curl papers, and his "referential or allegorical swearing," and that the duel scene was very amusing. It was the opinion of Hazlitt that Sheridan overdid the part, and accordingly he goes on to say: "It calls for a greater effort of animal spirits and a peculiar aptitude of genius in the actor to go through with it, to humor the extravagance, and to seem to take a real and cordial delight in caricaturing himself." This criticism is not without force; but whatever may have been Burton's conception, we are certain that a bright intelligence informed it, and that in the portrayal a requisite display of "animal spirits" was not lacking. If, among the audience that greeted Jefferson, there chanced to be any old play-goers of tenacious memory who had seen Burton, let us hope that they improved the occasion by pleasant reminiscence.

Tony Lumpkin was a very comic piece of acting, and made the people laugh immoderately; but we confess that the character has little charm for us. Burton used to sing the song of "The Three Jolly Pigeons" (in the ale-house scene) with more expression than melody; but he threw into it a great deal of frolic spirit and made it quite a feature.

In our youthful days, when witnessing "The Road to Ruin," we knew very well the moment when we should hear the voice of Goldfinch outside; and we remember his bustling entrance, in sporting frock, buff waiscoat, and top boots, whip in hand, and his rattling flow of horse-talk; his strut and his "that's your sort!" It is said that Lewis, of Covent Garden, (the original Goldfinch,) "gave to that catch-phrase a variety of intonation which made it always new and effective"; and Burton certainly played upon it adroitly. His delivery of the text was full of point and animation, and his articulation admirable. "Why, you are a high fellow, Charles," says Harry Dornton. "To be sure!" replies Goldfinch, "know the odds—hold four-in-hand—turn a corner in style—reins in form—elbows square—wrist pliant—hayait!—drive the Coventry stage twice a week all summer—pay for an inside place—mount the box—tip the coachy a crown—beat the mail—come in full speed—rattle down the gateway—take care of your heads!—never killed but one woman and a child in all my life—that's your sort!" We hear Burton's voice, we see his face and his gestures now!

We were always fond of Colman's "Poor Gentleman," and we took great delight in seeing Burton as Doctor Ollapod. As all know, the character affords wide scope for diverting treatment. The incidents are many and droll—and we think Burton turned every thing to the best account. Henry Placide played the part more artistically; but it was not possible for him to expound its humorous nature with the richness that came easily to Burton. We never think of Colman's comedy without a feeling of grateful pleasure; for its representation at various times gave us Burton and Placide as Ollapod; Burton as Sir Robert Bramble; Dyott, as Worthington; Mrs. Hughes as Lucretia McTab; and Johnston as Humphrey Dobbins.

We have referred in another place to Sir George Thunder and Job Thornberry; and we need not dwell upon them further than to say that both gave glimpses of that versatile power to which we have alluded, and both were full of the comedian's characteristic ability.