Cheatre Royal This Evening, will be performed the Play of the MERCHANT OF VENICE. Duke of Venice, Mr Denham. Launcelot Gobbo, Mr Mackay-Old Gobbo, Mr Mason.. After which, for the 6th Time, a Selection of SCENES and TRICKS from the most popular Pantomimes hitherto produced, under the Title of HARLEQUIN'S OLIO. Dick Whittington, afterwards Harlequin, Mr J. Stanley. Alderman Gobble, afterwards Pantaloon, Mr Duff. Dame Cicely Suett, afterwards Clown, by Mr M Gregor. Mr Fitzwarren, the Merchant, Mr Mason.. Captain Cross the Line, Mr Bing. His Extensive Highness Longo Baro Bony O, King of The Grand Vizier, Mr Stanley. Mr Timothy Exquisite, Esq. Mr Wynn. Dramatic Review. -Good my Lord, will you see the Players well bestowed ?- SHAKSPEARE No. CCCV. MONDAY, JAN. 5, 1824. Vol. VII. Theatre Royal. THE MERCHANT OF VENICE-It would be a bold proposition to affirm, that we are displeased with any performance which Mr Vandenhoff yet has attempted; at the same time we felt somewhat disappointed by his Shylock. But our expectations were too highly wrought; and a feeling proceeding from our own unreasonableness should not be suffered to recoil upon the performer. We had as little right to anticipate that Mr Vandenhoff should come up to Kean in the part of the Jew, as we would have to expect, that Kean should approach John Kemble or Vandenhoff himself in Coriolanus and similar parts. The latter gentleman's voice, person and countenance are almost exclusively adapted to the expression of elevated sentiment, and energy of will, though with such expression we often find combined a tenderness of feeling, which reminds one of the transient glance of the sunbeam reflected for a moment upon the profound gloom of a thunder cloud But it is not for him to embody the butcherly resolution of a Shylock,—his morose, inveterate and inflexible malignity, his gloating and riotous spirit of revenge. He conveys, we grant, a profound impression of rigid and uncontrollable self-will, proof against every sentiment of humanity and prejudice of opinion. But, so far as looks are concerned, his malice wants intensity, and his vengeance is unweildy and sluggish. He is a Titan in strength, but one whose sinews are strained by E attempting to launch the thunders of Jove. There is a compactness in his style-a tension both of mind and muscle-befitting the Jew; but in giving effect to the conflict of passions arising out of the contrast of situation, in keenness of sarcasm, in the rapidity of transitions from one feeling to another, in every thing but varied vehemence of declamation, and propriety of action, he is considerably beneath some of the great actors who have preceded him in the character. But still the performance was great; it was much better than the Shylock of Mr Russell, which was the best of all that gentleman's tragic parts, according to the opinion we ventured to express of it, and to the opinion entertained by Mr Russell himself. Mr Vandenhoff appeared to greatest advantage in the scene where he finally determines upon dining with the merchant, and lays his injunctions upon hist heartless and unnatural daughter. This scene, from some inscrutable reason, was in a manner cut out when the play was last performed, though the paternal anxiety displayed in it by the Jew, is the only relief, and the finest imaginable, to the moroseness of his general character, and though the scene itself is more pregnant with character, situation and contrast, and also with poetry, than any other in the play. What a description, for example, is that given of the streets of a crowded and licentious city, upon the approach of evening! And what a contrast between the description and the economy of the Jews sober household! The misgivings in the Jew's mind, his solicitude for his daughter's safety and the safety of his treasures, and the dogged sullenness with which he resolves to be for once convivial, at the expense of his enemy, were described by Mr Vandenhoff, with his characteristic judgment and feeling. There was much beauty, if not great natural force, in some of the alternations of passion which mark the scene where Tubal relates to him his fruitless search after Jessica, and the disasters of Antonio. We were reminded of the hale and vigorous, but agitated steps of Cook in the same scene, though, in general manner, there was certainly a decided difference. In the trial scene, however, Mr Vandenhoff was most impressive. We liked much his manner of demanding judgment of the Duke; it was that of a man who was determind not to be turned aside from his purpose, and to take no repulse. In place of making his demand, with his back preposterously turned upon the Duke, as Mr Russell did, he occupied a situation where he both confronted the Duke, and gave the audience a view of his countenance. His well-timed rebuke of the silly prating of Gratiano was given in the true tone of contemptuous sarcasm; and the bitter agony with which he listens to his cruel doom was as affecting as it was true to nature. We remain in our former opinion of Mrs Siddons' Portia. It is a remarkably fine piece of acting throughout, excepting at the close of the trial scene, where there were two striking deviations from character. In delivering the speech, "The quality of mercy is not strained, &c.," Portia steps out of her character of a Judge to move the Jew to compassion; and, therefore, it should be given with feeling and earnestness; but by Mrs Siddons it is given in the style of schoolboy recitation. Again, in denouncing against the Jew the penalties of the law, Portia is only the oracle of the Court, and should be phlegmatically solemn and formal. Since the days of Jeffreys no one has seen or heard a Judge pronouncing doom against a prisoner with the glee and exultation of a personal enemy.But this is done by Mrs Siddons. The Old Gobbo of Mason, and Young Gobbo of Mackay were both excellent. With a few exceptions, the other characters were well supported. THEATRICAL INTELLIGENCE. THEATRE-ROYAL, DRURY-LANE, THURSDAY, JANUARY, 1, 1824.— The Beggar's Opera. Captain Macheath, Madame Vestris; Polly, Miss Stephens..-Harlequin and the Flying Chest. FRIDAY, 20 JANUARY, 1824.--The Road to Ruin.---Harlequin and the Flying Chest. COVENT-GARDEN-Julius Cæsar. Marc Antony, Mr C. Kembel; Brutus, Mr Young; Porcia, Mrs Faucit. - Harlequin and Poor Robin. FRIDAY, 20 JANUARY.--- Cortez, or the Conquest of Mexico.---Cent per Cent.---Harlequin and Poor Robin. Cheatre Royal. This Evening, will be performed the Tragedy of CORIOLANUS. Romans. Caius Marcius Coriolanus, Mr Vandenhoff. Tribunes of the People. Junius Brutus, Mr Lynch. Sicinius Veletus, Mr Faulkner.-First Citizen, Mr Murray. Second Citizen, Mr Mackay.-Third Citizen, Mr Stanley. Fourth Citizen, Mr M'Gregor. VOLSEIANS. Tullus Audfidius, Mr Pritchard.-Volusius, Mr Wynn. Sextius, Mr Rae.-Lucius, Mr Smith. ¿Officers, Messrs Miller, Power, Aikin, and J. Stanley. Volumnia, Mrs Renaud. Servilia, Mrs Eyre. Servia, Miss Eyre.-Virgilia, Mrs Stanley. The Vocal Parts by Mr Bing, Mr R. Power, Miss Halford Miss H. Lacy, Miss Nicol, &c. &c. After which, for the 7th Time, a Selection of SCENES and TRICKS from the most popular Pantomimes hitherto produced, under the Title of HARLEQUIN'S OLIO. "Dick Whittington, afterwards Harlequin, Mr J. Stanley. Alderman Gobble, afterwards Pantaloon, Mr Duff. Dame Cicely Suett, afterwards Clown, by Mr M Gregor. Mr Fitzwarren, the Merchant, Mr Mason. Captain Cross the Line, Mr Bing. His Extensive Highness Longo Baro Bony O, King of The Grand Vizier, Mr Stanley. Mr Timothy Exquisite, Esq. Mr Wynn. Passenger, Mr Smith.-Gardner, Mr Aikin.-Baker, Mr Rae Coachman, Master George.-Footman, Master Lee. Carpenter, Mr Hillyard.-Landlord, Mr Power. |