[Southampton], Davies [Cecil], Packer [Raleigh], Ackman [Lt. of the Tower], a young gentlewoman, Ist app. on this stage, [Rutland], Mrs. Kennedy [Not the language is a wretched compound of low phrase and bombast expression, and is, indeed, much beneath criticism, yet, in the art of moving the passions, Banks has no superior; and this proceeds from his connecting his story so artfully, by a regular continuity of scenes, and placing his characters in such affecting situations, that the action alone supplied that pathos which no beauty of language could improve. Wilks and Mrs. Porter, in Essex and Queen Elizabeth, engaged the affections of the audience so powerfully, that more tears were never shed at any play than at Banks's Unhappy Favourite. "The language of this tragedy had been long since reformed by Mr. James Ralph, of whom I have already spoken. The whole was composed anew by Jones and Brooke. The latter seems to have been willing to retain some of the obscure and harsh style of Banks, or at least I think he occasionally imitated the language of the old dramatic writers. Jones preserved the original economy of the tragedy, and gave it a more harmonious and pleasing dialogue than either Ralph or Brooke. He had, besides, in the representation of his play, the advantage of a Mrs. Cibber for his Rutland, and a Barry for his Essex, whose fine figure, noble manner, and pathetic feeling, rendered his exhibition superior to all the representers of that favourite character. Mr. Sheridan, after having made some judicious alterations, brought the Essex of Brooke to the theatre of Drury-Lane." Davies. Murphy tells us that this tragedy was brought out "towards the end of No.vember," [Murphy's Life of G. vol. 1. p. 362.] a mistake which may be corrected from our register. Victor has given no account of the representation of this play; and if he had, it most probably would have been incorrect, for his dates are often grossly wrong. Lloyd's Tears and Triumph of Parnassus, according to him, was produced at Drury-Lane in September, 1760, and the Minor, and Polly Honeycombe, and the Enchanter, in the following month of October; though Mr. Lloyd's ode did not appear till the 17th Nov. the Minor till the 20th Nov. Polly Honeycombe till the 5th December, and the Enchanter till the 13th December. On the contrary, he dates the appearance of High Life below Stairs in Oct, 1761, which was produced two years before, viz. on the 31st Oct. 1759. See Victor's Hist. vol. 3. "From this tragedy arises the useful observation of that danger and 'mutability. which attends court favour. In a comparison of Banks's, Jones's, and Brooke's, the former must be pronounced replete with offensive bombast, forced figures, unnatural ideas, and pitiful expression; the second, regular, chaste, and affecting the third, dess turgid than Banks, more laboured than Jones; nervous, but stiff; wherefore we recommend that play which has passed review [Mr. Jones's] both for action and perusal." Dramatic Censor, 1770. "Mr. Brooke, as well as Mr. Jones, has, in our opinion, adhered too closely to Banks's plan. The illustrious Cecil is still a sneaking villain; the great Raleigh a malicious scoundrel; and the valiant Earl, as usual, receives from the angry Queen a box on the ear, which royal favour he seems as much inclined as ever to acknowledge, by running her most gracious Majesty through the body.But, though there is little variation in the incidents and conduct of the piece, yet 18gbam], Mrs. Pritchard [2. Eliz.], with a new Pl. and Epil. (c) The characters new dressed, in the habits of the times. P. Honeycomb. 5.-E. of Essex. H. Life. 6.—Stratagem. Enchanter. 7.-E. of Essex. Enchanter. 8.-[BY COMMAND] Jane Shore. P. Hon. (d) 9.-Minor. P. Hon. in the diction, the spirit, and pathos, our present author is greatly superior to his predecessors. Some little peculiarities, indeed, and slight defects of expression, we have remarked; but where the whole deserves so much commendation, candour will readily overlook immaterial blemishes. Monthly Review. Miss Mowat, the young Gentlewoman who performed Rutland, is the same lady who played Jane Shore thrice at Covent Garden the preceding season. [See M. M. p. 117, vol. 10.] Her acting in Mr. Brooke's tragedy is thus warmly commended by the Monthly Reviewers. Speaking of the scene in the last act, immediately after the parting between the Earl and his wife, they observe, “This scene shews the hand of a master. It is drawn with such art, and expressed with such feeling, as could not fail of animating even an actress of less ability than Miss Mowat seems to possess, so as to ensure her success in the part. The amiableness of Rutland's character, the extreme agony of her situation, the pathetic poignancy of every word she addresses to the repentant queen, during her delirium, occasioned by the loss of her husband; with the sympathizing sense which every spectator and reader must conceive of what passed in the queen's breast at such a moving juncture;-these, altogether, combine to form a most affecting scene: and we must add, that perfect justice was done to the author's design by the young lady who appeared in this part." "Mrs. The other performers are thus spoken of by the critics of the day. Pritchard filled the part of the queen with dignity and spirit. Mr. Sheridan's Essex was a stage effort where art predominates more than nature. In several passages of the play he was unexceptionably just, almost to a degree of excellence. His suppression of anger to the queen, in the third act, by judiciously lowering the tone of his voice, when ready to exclaim with unbridled rage of resentment, did not escape the applause of a critical audience. "In that scene of the last act where the earl and his countess, before he is led off to execution, meet to part for ever, he well knew his inability to reach the melting tenderness of a Barry; but his tears were accompanied with manly deportment, and without that loud vociferation of grief which resembles what is vulgarly called blubbering, into which the actor, in a scene of distress, is sometimes incautiously betrayed." Davies. Mr. Sheridan was bombastic in the passages of passion, and discordant in the tender ones; hurtful through extravagance of action to eyes, and painful through false modulation of vile tones to ears. Dramatic Censor, 1770. N. B. The Dramatic Censor alludes to Mr. Sheridan's performance at the Haymarket theatre, where he brought out the tragedy several years after its original representation at Drury Lane. (c) The former spoken by Sheridan; the latter by Mrs. Pritchard, in the character of Queen Elizabeth. (d) The first time we have noticed an afterpiece on the night of their Ma'jesties' visit to the theatres. Miss Pope was much admired by his Majesty in Polly Honeycombe. PROVINCIAL DRAMA, Sc. Theatre-Royal MANCHESTER.-Messrs. Ward and Bellamy commenced their winter campaign here on the 1st of Dec. with the following forces, viz. Messrs. Huddart, Penson, Gordon, Swendall, (late acting commandant at the Weymouth theatre) Sims, Richardson, (late of Covent-Garden, but last from Bath) Bengough, Grist, Benwell, Hattiwell, Healy, and last, not least, Scriven and Mills. The ladies are Mesdames Ward, Bellamy, Tayleure, Penson, Bengough, Mills, and our old favourite Mrs. Hatton, the Misses Ward, Jackson, and Daniels. Thus supported with a numerous and respectable corps, chiefly veterans, our managers commenced the campaign with spirit and confidence. Bella horrida bella! who can answer for the event of battles? Huddart, as Lieutenant Worthington, commenced the attack, but the enemy, conscious of his abilities, received him with open arms and a general feu de joie. After this, corporal Foss, and the volunteers Ollapod and Harrowby, &c. &c. easily established themselves upon the field. But when general Bellamy himself appeared, then came the tug of war. He was instantly saluted by a general discharge of swan, or rather goose shot. For some time, he kept his ground unhurt amidst the din of arms,' though not without the most imminent danger, as the discharge from the enemy's pieces came hissing round him on every side. In the greatest agitation he traversed the field, the discharge of goose shot still continuing, when he demanded a parly. It was alledged that the last winterly campaign, he had, in a cowardly manner, run away from and deserted his troops in the utmost need, and given his support to a foreign regiment stationed at Dublin; and that, when they expected to reap the benefits of their toils through five long winter months, they had no leader to continue harmony in the corps: for with General Bellamy, and the fair syrén Addison, poor Opera had entirely deserted the regiment, convinced that if she attempted to keep the field, she would soon have been so wounded, mangled, and mutilated, as to be obliged to lay by in the regimental hospital. The general was now obliged to submit to the superior force of the enemy's artillery, and to come to terms by promising that if he might be suffered to remain upon the field of battle that night, and march out with all the honours of war, he would give his parole of honour never more to appear in propriâ personâ upon that scene of action, as he would renounce them and that stage for ever. But, metaphor apart, the company is an excellent one. Mr. Richardson was here about eight years ago, since which he is, indeed, much improved. In Cross, in No Song no Supper, and Steady, the Quaker, he was equally happy. Mills, I think, is one of the most promising actors on the English stage. He is very young indeed, and has much improvement in him. Mr. Hatton is very clever in comedy. As also Mr. Scriven, who played Tony Lumpkin in a very superior style. MANCUNIENSIS, Theatre Royal DUBLIN,-The trustees of the Dublin Lying-in-Hospital, have publicly contradicted the report of Mrs. Siddons having refused to perform for that charity, declaring, also, that no application or request of such a nature was made to her. Relative to this affair, which has occupied the public conversation for some time past, Mrs. Siddons thought it incumbent on her to address the proprietor of the theatre. The following is a copy of the letter, and we do not think a more effectual method can be taken to contradict the report alluded to than the publica tion of it: "Sir, "TO FREDERICK EDWARD JONES, ESQ. "I take the liberty of addressing you on a subject which has caused me much uneasiness. Public concern is, under any circumstances, well calculated to 'wound our feelings, but it is peculiarly distressing when it is heightened by injustice. That reports most injurious to me have been circulated, can no longer be doubted, when I assure you that I understand it is generally believed I refused to play for the Lying-in Hospital. On this subject you will, I am sure, be as anxious to do me justice, as I am solicitous to vindicate myself in the eyes of the public. I therefore beg leave to bring to your recollection, that you did me the honour of calling on me at my house in Park-street last summer, when it was liberally proposed, on your part, as it was cheerfully accepted on mine, that I should perform for some charity: you also recollect that it was considered by us both as a compliment justly due to Lady Hardwicke, that she should have the choice of the particular charity for which I was to perform-and you thought it likely that her Excellency would give her preference to the Lying-in-Hospital. You also, Sir, Inust remember, that I was not only willing but desirous of exerting myself for the benefit of so laudable an institution. Why so amiable a purpose was not immedi ately promoted, I cannot even guess-but sure I am that its postponement cannot be attributed to any backwardness on my part. The same motives which actuated me then, are no less powerful now, and it will give me infinite pleasure, if, by the exertion of any powers I possess, I can be able to promote an important object of public utility. "And now, Sir, if I may be permitted to speak of myself as a private individual, I have only to regret the sad necessity imposed upon me of vindicating my character from the imputation of a failing as unamiable as (I trust) it is foreign to my nature. I regret that I should be constrained from unfortunate circumstances to endeavour to rescue myself from an obloquy which I hope I have never incurred by my conduct; I regret that the country in which I am obliged to do so should be Ireland. "I have the honour to be, Sir, Dublin, Dec. 8, 1802. "Your obedient servant, "S. SIDDONS." The affairs of this theatre are in a very flourishing condition. Holman is still the popular actor, and, with the aid of Talbot and Hargrave, the tragedies are got up in a style of uncommon excellence. The latter gentleman performed some seasons back at Covent-Garden; he afterwards quitted the stage for a situation in the army, and has but lately resumed his former profession. Miss Walstein from the Liverpool company, has appeared in Calista, with considerable applause. Theatre Royal CHESTER.Our theatre having been newly painted, wears a gayer appearance than it has presented within my recollection. As I imagined that poetry would form a variety in your provincial Memoranda Dramatica, I have hastily attempted to give my opinion of the merits and demerits of our company in verse. Unwarp'd by fondness, and unsway'd by spite, Huddart, whose talents merit all applause, And Bengough learn to know mad rant from rage ; His voice to vary, and his eyes to fix. Healy with credit fills his hobbling posts, Then enter servants, shifters, mutes, and ghosts. WOMEN. Come Ward, and let thy praise enrich my song, With rapture do I hear thy tragic flights, And yet thy airy comedy delights; Grave without dulness, without folly smart, In dress consistent, and correct in part. * Mr. Ward was particularly unsuccessful in his benefit. Richardson and Hatton scarcely cleared themselves in a joint benefit. § Mrs. Ward. 3 G-VOL, XIV, |