Journal of a Tour and Residence in Great Britain

Sir Thomas Lawrence, ‘John Philip Kemble as Hamlet’ (1802), via Wikimedia Commons

Source: A French Traveller [Louis Simond], Journal of a Tour and Residence in Great Britain, during the years 1810 and 1811: with remarks on the country, its arts, literature, and politics, and on the manners and customs of its inhabitants (Edinburgh: Archibald Constable, 1815), pp. 121-125

Production: William Shakespeare, Hamlet and George Colman the Younger, The Grand Dramatic Romance Bluebeard, or Female Curiosity, Covent Garden Theatre, London, 21 April 1811

Text: April 21. — Hamlet was acted yesterday at Covent-Garden, and Kemble, the reigning prince of the English stage, filled the principal part. He understands his art thoroughly, but wants spirit and nature. His manner is precise and artificial; his voice monotonous and wooden; his features are too large, even for the stage. Munden in the part of Polonius, and Fawcett in the grave-digger, played charmingly. It is enough to mention the grave-diggers, to awaken in France the cry of rude and barbarous taste; and, were I to say how the part is acted, it might be still worse. After beginning their labour, and breaking ground for a grave, a conversation begins between the two grave-diggers. The chief one takes off his coat, folds it carefully, and puts it by in a safe corner; then, taking up his pick-axe, spits in his hand,— gives a stroke or two,— talks,— stops,— strips off his waistcoat, still talking, — folds it with great deliberation and nicety, and puts it with the coat, then an under-waistcoat, still talking, — another and another. I counted seven or eight, each folded and unfolded very leisurely, in a manner always different, and with gestures faithfully copied from nature. The British public enjoys this scene excessively, and the pantomimic variations a good actor knows how to introduce in it, are sure to be vehemently applauded. The French admit of no such relaxation in the dignité tragique.

L’éroite bienseance y veut être gardée;

and Boileau did not even allow Moliere to have won the prize of comedy, because he had

Quitté pour le bouffon l’agréable et le fin
Et sans honte a Terence allié Tabarin

much less would he or his school have approved of an alliance between tragedy and farce. Yet it may well be questioned whether the interest is best kept up by an uninterrupted display of elevation. For my part, I am inclined to think that the repose afforded by a comic episode renovates the powers of attention and of feeling, and prepares for new tragical emotions more effectually than an attempt to protract these emotions during the whole representation could have done. It is by no means usual for the different actors of the same scene, in real life, to be all equally affected. The followers of a hero do not feel as magnanimous as himself, and are even apt to laugh among themselves at his vices or his virtues. The hero himself is not always a hero, and does not speak invariably in the same tone. Indeed I do not know that it is unnatural for the same person to laugh and cry, within the same half hour, at the very same thing, or at least various views of the same thing; nor that this inconsistency of the human mind might not furnish stronger dramatic touches than the contrary quality. Poetical excitement cannot be maintained long at a time; you must take it up and lay it down like a flower, or soon cease to be sensible of the fragrance. If real illusion could ever take place in dramatic representation, it would certainly be produced rather by that diversity of tone and character which exists in nature, than by an artificial unity. But nobody does, in point of fact, forget for a moment, that what he sees is a fable, and, if he did, the effect of a tragedy would hardly be pleasure. We look on poetical terrors as we do from the brink of a precipice upon the yawning chasm below; it makes our head turn, and takes off our breath for very fear ; but, leaning on the parapet-wall, we feel all safe. Looking on the verdure and mild beauties around us, we enjoy the contrast; and, meeting the eye of our companion, exchange a smile.

Voltaire, D’Alembert, and many other foreign critics, agree in reproving this scene of the grave-diggers as horribly low, while they extol the soliloquy of Hamlet. Supposing, however, the sentiments of the prince had been put into the mouth of the peasant, and those of the peasant given to the prince, I question whether these critics would not still have taken part with the latter against the former. It is the spade and the jests which discredit the philosophy, yet there is a certain coarse but energetic fitness between the one and the other, — and the tone of buffoonery does not ill accord with the contempt of life, its vanities, and empty greatness. I have made a free translation of these two scenes, endeavouring to convey the ideas rather than the words, that my French readers may judge for themselves.

The tragedy of Hamlet is much more objectionable on other points, —being, in my opinion, one of the most ill conceived and inexplicable of Shakespeare’s plays,— which are all of them little else than mere frames for his ideas, comic or philosophical, gloomy or playful, as they occurred, without much attention to time and place; expressed with a vigour, a richness, and originality, quite wonderful in the original, but nearly lost in any translation. We might apply to Shakespeare what has been said of our Montaigne: “que personne ne savoit moins que lui, ce qu’il alloit dire, ni mieux ce qu’il disoit.” I have remarked before, that the style of Shakespeare is not old; and the inartificial texture of his plays appears the more strange on that account :— this style, just as it is, might be applied to the best conducted fable, and most regular argument. Of the dramatic writers who followed him, some avoided his irregularities, but missed his style, or rather had not his depth, his strength and genius; while others, and there is a recent example, approached that style, and had some sparks of that genius, but adopted, in their zeal, the inconsistencies, the coarseness, and even the puns. You can excuse, in a Gothic cathedral of five or six hundred years standing, those monkish figures carved on the walls, lolling their tongues out, or pointing the finger of scorn at each other, in low derision, and others still more indecent, in favour of the wonderful art, which, in such an age of darkness and ignorance, durst conceive, and could execute the idea of building this religious grove, rearing its arched boughs, and
lofty shades of hewn stones 150 feet above your head; — while the country-house of the wealthy citizen of London, mimicking that taste of architecture, excites a smile, — and if he should carry the imitation beyond the pointed arch, and painted windows, to the very indecencies I have mentioned, the ridicule would be complete.

The after-piece was Blue-Beard, which outdoes, in perversion of taste, all the other showy stupidities of the modern stage. A troop of horse (real horse) is actually introduced, or rather two troops, charging each other full speed, — the floor is covered with earth, — the horses are Astley’s, and well drilled; they kick, and rear, and bite, and scramble up walls almost perpendicular, and when they can do no more, fall, and die as gracefully as any of their brethren, the English tragedians. All this might do very well at Astley’s, but what a pity and a shame that horses should be the successors of Garrick, and bring fuller houses than Mrs Siddons!

Comments: Louis Simond (1767-1831) was a French travel writer. He journeyed through Britain over 1810-11, writing his published account in English. The production of Hamlet that he saw at Covent Garden featured John Philip Kemble as Hamlet and Joseph Munden as Polonius and John Fawcett as the gravedigger. The afterpiece was George Colman the Younger‘s 1798 play The Grand Dramatic Romance Bluebeard, or Female Curiosity. Astley’s Amphitheatre in London was famed for its circus and equestrian entertainments.

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Remarks on Our Theatres

Source: Oliver Goldsmith, ‘Remarks on Our Theatres’, The Bee no. 1, 6 October 1759, reproduced in Essays and The Bee (Boston: Wells and Lilly, 1820), pp. 11-17

Production: Henry Fielding, The Miser, Covent Garden Theatre, London, 24 September 1759 and Henry Fielding, The Mock Doctor, Drury Lane Theatre, London, 25 September 1759

Text: Our theatres are now opened, and all Grub-street is preparing its advice to the managers; we shall undoubtedly hear learned disquisitions on the structure of one actor’s legs, and another’s eye-brows. We shall be told much of enunciations, tones, and attitudes, and shall have our lightest pleasures commented upon by didactic dulness. We shall, it is feared, be told, that Garrick is a fine actor, but then, as a manager, so avaricious! That Palmer is a most surprising genius, and Holland likely to do well in a particular cast of character. We shall have them giving Shuter instructions to amuse us by rule, and deploring over the ruins of desolated majesty at Covent-Garden. As I love to be advising too, for advice is easily given, and bears a show of wisdom and superiority, I must be permitted to offer a few observations upon our theatres and actors, without, on this trivial occasion, throwing my thoughts into the formality of method.

There is something in the deportment of all our players infinitely more stiff and formal than among the actors of other nations. Their action sits uneasy upon them; for as the English use very little gesture in ordinary conversation, our English-bred actors are obliged to supply stage gestures by their imagination alone. A French comedian finds proper models of action in every company and in every coffee house he enters. An Englishman is obliged to take his models from the stage itself; he is obliged to imitate nature from an imitation of nature. I know of no set of men more likely to be improved by travelling than those of the theatrical profession. The inhabitants of the continent are less reserved than here; they may be seen through upon a first acquaintance; such are the proper models to draw from; they are at once striking, and are found in great abundance.

Though it would he inexcuseable in a comedian to add any thing of his own to the poet’s dialogue, yet as to action he is entirely at liberty. By this he may show the fertility of his genius, the poignancy of his humour, and the exactness of his judgment; we scarcely see a coxcomb or a fool in common life that has not some peculiar oddity in his action. These peculiarities it is not in the power of words to represent, and they depend solely upon the actor. They give a relish to the humour of the poet, and make the appearance of nature more illusive; the Italians, it is true, mask some characters, and endeavour to preserve the peculiar humour by the make of the mask; but I have seen others still preserve a great fund of humour in the face without a mask; one actor, particularly, by a squint which he threw into some characters of low life, assumed a look of infinite stolidity. This, though upon reflection we might condemn, yet immediately upon representation we could not avoid being pleased with. To illustrate what I have been saying by the plays I have of late gone to see; in the Miser, which was played a few nights ago at Covent Garden, Lovegold appears through the whole in circumstances of exaggerated avarice; all the player’s action, therefore, should conspire with the poet’s design, and represent him as an epitome of penury. The French comedian, in this character, in the midst of one of his most violent passions, while he appears in an ungovernable rage, feels the demon of avarice still upon him, and stoops down to pick up a pin, which he quilts into the flap of his coat-pocket with great assiduity. Two candles are lighted up for his wedding; he flies, and turns one of them into the socket; it is, however, lighted up again; he then steals to it, and privately crams it into his pocket. The Mock-Doctor was lately played at the other house. Here again the comedian had an opportunity of heightening the ridicule by action. The French player sits in a chair with a high back, and then begins to show away by talking nonsense, which he would have thought Latin by those who he knows do not understand a syllable of the matter. At last he grows enthusiastic, enjoys the admiration of the company, tosses his legs and arms about, and in the midst of his raptures and vociferation, he and the chair fall back together. All this appears dull enough in the recital; but the gravity of Cato could not stand it in the representation. In short, there is hardly a character in comedy, to which a player of any real humour might not add strokes of vivacity that could not fail of applause. But instead of this we too often see our fine gentlemen do nothing through a whole part, but strut, and open their snuff-box; our pretty fellows sit indecently with their legs across, and our clowns pull up their breeches. These, if once or even twice repeated, might do well enough; but to see them served up in every scene argues the actor almost as barren as the character he would expose.

The magnificence of our theatres is far superior to any others in Europe, where plays only are acted. The great care our performers take in painting for a part, their exactness in all the minutiae of dress, and other little scenical proprieties, have been taken notice of by Ricoboni, a gentleman of Italy, who travelled Europe with no other design but to remark upon the stage; but there are several improprieties still continued, or lately come into fashion. As, for instance, spreading a carpet punctually at the beginning of the death scene, in order to prevent our actors from spoiling their clothes; this immediately apprises us of the tragedy to follow; for laying the cloth is not a more sure indication of dinner than laying the carpet of bloody work at Drury-lane. Our little pages also with unmeaning faces, that bear up the train of a weeping princess, and our awkward lords in waiting, take off much from her distress. Mutes of every kind divide our attention, and lessen our sensibility; but here it is entirely ridiculous, as we see them seriously employed in doing nothing. If we must have dirty-shirted guards upon the theatres, they should be taught to keep their eyes fixed on the actors, and not roll them round upon the audience, as if they were ogling the boxes.

Beauty methinks seems a requisite qualification in an actress. This seems scrupulously observed elsewhere, and for my part I could wish to see it observed at home. I can never conceive a hero dying for love of a lady totally destitute of beauty. I must think the part unnatural, for I cannot bear to hear him call that face angelic, when even paint cannot hide its wrinkles. I must condemn him of stupidity, and the person whom I can accuse for want of taste, will seldom become the object of my affections or admiration. But if this be a defect, what must be the entire perversion of scenical decorum, when for instance we see an actress that might act the Wapping Landlady without a bolster, pining in the character of Jane Shore, and while unwieldly with fat, endeavouring to convince the audience that she is dying with hunger!

For the future, then, I could wish that the parts of the young or beautiful were given to performers of suitable figures; for I must own, I could rather see the stage filled with agreeable objects, though they might sometimes bungle a little, than see it crowded with withered or mis-shapen figures, be their emphasis, as I think it is called, ever so proper. The first may have the awkward appearance of new-raised troops; but in viewing the last I cannot avoid the mortification of fancying myself placed in an hospital of invalids.

Comments: Oliver Goldsmith (1728-1774) was an Anglo-Irish novelist, playwright, poet and critic. The Bee was a periodical that he published himself. The Miser and The Mock Doctor were plays by Henry Fielding, both adapted from Molière. Antoine-François Riccoboni was an Italian actor whose treatise L’Art dit Théâtre was published in 1750.

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Daniel Webster in England

Source: Edward Gray (ed.), Daniel Webster in England: Journal of Harriette Story Paige, 1839 (Boston/New York: Houghton Mifflin, 1917), pp. 72-73

Production: William Shakespeare, Henry V, Covent Garden Theatre, London, 29 June 1839

Text: In the evening by particular request, and invitation from Macready the actor, we went accompanied by Colonel Webb, of New York, and Captain Stockton to witness the representation of Shakspeare’s play of King Henry V. Mr. Webster had gone to the House of Lords, and contrary to our expectations, did not get to “Covent Garden” for the evening. This play has been restored by Macready, who takes the part of the King, his performance was admirable; too much cannot be said in praise of his unwearied efforts to restore the British drama to its former reputation and eminence. The King is seen in the play, to embark from England at the Tower Stairs, with his Court, retinue &c., then the Cliffs of Dover are seen, and the whole fleet appears sailing onward. The sun sets, the moon rises, finally, the French coast of Boulogne is visible, and gradually becomes more distinct. The bombardment takes place, then clouds appear, roll over, and conceal all. Then comes a prologue, or “chorus,” spoken by a figure, dressed as Time; he keeps the spectators informed of all the events that have occurred, and behind him, is a pictorial exhibition, of these scenes occurring, so skilfully managed that it seems reality. After this, the clouds disappear and the actors are again visible, but before each act, Time with his chorus appears, and from him we learn the course of events. Covent Garden is a spacious, large theatre; our box was on a level with the orchestra, and below the stage, but so near to it, that our opportunity for enjoying this novel play, was particularly good.

Comments: Harriette Story Page (1806-1863) was the sister-in-law of the American politician Daniel Webster. She accompanied him of his European visit in 1839. The production she saw of Henry V at Covent Garden starred William Macready, with scenery and dioramas designed by Clarkson Frederick Stanfield. Part of what Macready ‘restored’ to the play was the part of the Chorus, cur from earlier productions.

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The Diary of Philipp Von Neumann

Source: E. Beresford Chancellor (ed.), The Diary of Philipp von Neumann, vol. 1 (London: Philip Allan, 1928), p. 5

Production: William Shakespeare, Hamlet, Covent Garden Teahtre, London, 27 September 1819

Text: Sept. 27th. While riding in Hyde Park my groom fell from his horse and hurt his foot badly. I dined at the Piazza Coffee House and later went to Lady Floyd who had offered me a place at her box at Covent Garden. They performed Hamlet. Charles Kemble filled the title-rôle, and did it very well. He has a noble presence, but puts too much pathos into the part for which, too, he is not young enough. Miss Mathews as Ophelia so overdid the character, one of the most interesting in English tragedy, that she almost made a caricature of it. It is a pity that a play containing so many beauties should be spoilt, as most of Shakespeare’s are, by certain blemishes of taste. In spite of excisions, much had been left in which may suit the spirit of the people but to which others object. The management has to consider the former rather than the latter.

Comments: Baron Philipp von Neumann (1781-1851) was an Austrian diplomat, posted at the Austrian embassy in London during the 1810s and 1820s. His diaries provide a detailed account of the political and high society life of the time, and document his many visits to the theatre and opera. Charles Kemble, at the time of this production, was forty-four years old. Miss Mathews (presumably related to theatre manager Charles Mathews) had stood in at short notice for Ann Maria Tree, who was unwell.

The Diary of Sylas Neville

Source: Basil Cozens-Hardy (ed.), The Diary of Sylas Neville 1767-1788 (London: Oxford University Press, 1950), p. 292

Production: Charles Johnson, The Wife’s Relief: or, The Husband’s Cure and Edward Ravenscroft, The London Cuckolds, Covent Garden, London, 10 April 1782

Text: Apr. 10. At C[ovent] G[arden] Theatre to see the Wife’s Relief, a comedy of — but not one of the best. The dialogue is tollerably [sic] animated & the business interesting. The sentiments of the first four acts are licentious to a degree, the edge of which may not perhaps be blunted by the black colors in which they are painted in the last. The underplot creates some confusion & the character of young Cash is unnatural & disagreable [sic]. . . . The parts of Riot & Volatil were not too good for Wroughton & Lewis like many others in which they appear. Such a character as Cynthia sits easy on Miss Satchel & Miss Mattocks was no bad Arabella. That kind of pert humour is her forte. If the ‘London Cuckolds’ was no better in its original state than when it appeared this evening cut down into an entertainment I never saw a sillier thing. They must be Cits. indeed, if not cuckolds, who can relish such low & absurd stuff.

The performers were of no note except Quick in Ald Doodle & Mrs Wilson in Jane, the intriguing chamber maid. Quick spoke a tollerable prologue to this piece as the ghost of Sir Richᵈ Whittington – his cat peeping from underneath his gown. The venerable magistrate compared the amusements of the citizens of London of his time with those of the present day.

It was Quick’s benefit & I never saw a fuller house. He deserves it as a performer of great merit in his cast.

Comments: Sylas Neville (1741-1840) was an English gentleman of unclear origins, who had studied medicine but spent much of his adult life travelling while being continually short of money. His surviving diary frequently mentions visits to the theatre in London. The Wife’s Relief: or, The Husband’s Cure was a popular comedy written in 1711 by Charles Johnson. The performers included Richard Wroughton, William Thomas Lewis, Elizabeth Satchell, Isabella Mattocks and the popular comic actor John Quick. It was accompanied by the afterpiece The London Cuckolds by Edward Ravenscroft, with Quick and (presumalby) Sarah Wilson, and a prologue from the ghost of Dick Whittington. ‘Cit’ was a slang term for someone who was not a gentleman.

The Journal and Letters of Samuel Curwen

Source: George Atkinson Ward, The Journal and Letters of Samuel Curwen, an American in England, from 1775 to 1783 (Boston, Little, Brown and company, 1864 [4th ed.]), pp. 338-339

Production: Hannah Cowley, The World as It Goes; or, a Party at Montpelier, Covent Garden, London, 24 February 1781

Text: Feb. 24. To theatre to see Mrs. Cowley’s new play; unfortunately it was hissed off the stage just before the conclusion of the last act; being in its progress of acting alternately and frequently hissed by its foes and cheered by its friends; the latter proved the minority, and therefore unsuccessful, as all in minorities are in State and Church, as well as theatres. Many came for the express purpose of supporting or damning it; her husband, a writer in one of the daily papers, employs his pen in criticising works of all other stage writers, and has, by the severity of his remarks, raised up a host of determined foes to crush whatever proceeds from his quarter; though no foreign considerations were needed to banish this piece from the stage, its own intrinsic unworthiness was more than enough; being a low performance, and unworthy the pen of the author of “Belle’s Stratagem” and “Who’s the Dupe.” Knowing the writer and her connections, I feel severely for them, especially, too, as her brother is a fellow-lodger, whose exquisite delicacy of feeling must be cruelly wounded on this occasion. The prologue and epilogue were excellent, and did great credit to the performers, Mr. Lewis and Miss Young, who were rewarded with universal applause.

Comments: Samuel Curwen (1715-1802) was an American merchant and justice. As a British loyalist fled America in 1775, having been attacked for not opposing the British military action at Lexington and Concord, and spent ten years in Britain, during which time he became a supporter of the American cause. Hannah Cowley (1743-1809) was best-known for her 1780 play The Belle’s Stratagem. Its successor, The World as It Goes, subsequently retitled Second Thoughts Are Best, was a notable failure. Her journalist husband was Thomas Cowley. The prologue was written by Richard Josceline Goodenough. The performers of the prologue and epilogue, respectively, were Charles Lee Lewes and Elizabeth Younge.

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The Diary of Philipp von Neumann

Source: E. Beresford Chancellor (ed.), The Diary of Philipp von Neumann, vol. 1 (London: Philip Allan, 1928), pp. 11-12

Production: William Shakespeare, The Comedy of Errors, Covent Garden, London, 11 December 1819

Text: Dec. 11th. Went with Pahlen to Covent Garden to see Shakespeare’s Comedy of Errors, of which the plot hinges on two brothers and two men servants who resemble one another so closely as to produce all sorts of embarassing situations. Regnard might have supposed he was witnessing his comedy of Ménœchmes. The fact is these plays read better than they act, because the illusion is destroyed by the want of resemblance, which is always lacking among actors. Terence gave the first idea of such pieces, but then the actors played in masks and the illusion was complete. The airs introduced and sung by Miss Tree and Miss Stephens did not add to the effectiveness of the play.

Comments: Baron Philipp von Neumann (1781-1851) was an Austrian diplomat, posted at the Austrian embassy in London during the 1810s and 1820s. His diaries provide a detailed account of the political and high society life of the time, and document his many visits to the theatre and opera. Shakespeare’s play and that of Jean-François Regnard were each indebted to Plautus‘s Roman play Menaechmi. The production of The Comedy of Errors seen by Neumann was an operatic staging by Frederic Reynolds, featuring songs by Henry Bishop. Reynolds specialised in musical adaptations of Shakespeare’s plays. The singers were Anna Maria Tree and Catherine Stephens.

Riot at Covent Garden Theatre

‘Riot at Covent Garden Theatre, 1763 print, Theatre and Performance Collection, Victoria & Albert Museum

Source: The Gentleman’s Magazine, February 1763, vol. XXXII, p. 97

Production: Thomas Arne, Artaxerxes, Covent Garden Theatre, London, 24 February 1763

Text: A riot happened at Covent-Garden theatre occasioned by a demand being made for full prices at the opera of Artaxerxes. The mischief done was the greatest ever, known on any occasion of the like kind; all the benches of the boxes and pit being entirely tore up, the glasses and chandeliers broken, and the linings of the boxes cut to pieces. The rashness of the rioters was so great, that they cut away the wooden pillars between the boxes, so that if the inside of them had not been iron, they would have brought down the galleries upon their heads. The damages done amount to at least 2000l. Four persons concern’d in the riot have been committed to the Gatehouse.

Comments: The opera Artaxerxes by Thomas Arne premiered successfully at Covent Garden on 2 February 1762. When it was revived at the same theatre on 24 February 1763 a riot occurred in protest at the abolition of half-price admissions. It has been the custom to sell half-price tickets for latecomers who would see only the short afterpiece rather than the main attraction of the evening. This change in policy was fiercely opposed by some and led to several such riots, at Drury Lane and Covent-Garden. The protests caused the half-price concession to be re-introduced when the theatre re-opened on March 2nd. 2000l is £2,000.

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The Journal and Letters of Samuel Curwen

Margaret Farrell, who became Margaret Kennedy on her second marriage, as Macheath in 1777, University of Illinois Theatrical Print Collection

Source: George Atkinson Ward, The Journal and Letters of Samuel Curwen, an American in England, from 1775 to 1783 (Boston, Little, Brown and company, 1864 [4th ed.]), p. 305

Production: John Gay, The Beggar’s Opera, Covent Garden Theatre, London, 25 September 1780

Text: Sept. 25. At Covent Garden Theatre; performance, “Beggar’s Opera;” parts well played, but great impropriety, not to say indecency, in Mrs. Kennedy’s personating McHeath. Bravery, gallantry, and a fearless disregard of death, the characteristics of that notorious highwayman, which female softness awkwardly imitates. Following entertainment, falsely so called; execrably foolish and childish. I am sorry to arraign even the shilling gallery for want of judgment, in suffering such unmeaning stuff to pass for a farce.

Comments: Samuel Curwen (1715-1802) was an American merchant and justice. As a British loyalist fled America in 1775, having been attacked for not opposing the British military action at Lexington and Concord, and spent ten years in Britain, during which time he became a supporter of the American cause. John Gay‘s ballad opera The Beggar’s Opera was performed at Covent Garden on 25 September 1780 with the contralto Margaret Kennedy, well-known for her performances in male roles, playing Macheath.

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The Distressed Mother

Source: William Hazlitt, ‘The Distressed Mother’, Examiner, 22 September 1816 pp. 9-10, reproduced in A View of the English Stage, or, A Series of Dramatic Criticisms (London: Robert Stodart, 1818), pp. 108-110

Production: Ambrosse Philips, The Distrest Mother, Covent Garden Theatre, London, 16 or 20 September 1816

Text: A Mr. Macready appeared at Covent Garden Theatre on Monday and Friday, in the character of Orestes in the Distressed Mother, a bad play for the display of his powers, in which, however, he succeeded in making a decidedly favourable impression upon the audience. His voice is powerful in the highest degree, and at the same time possesses great harmony and modulation. His face is not equally calculated for the stage. He declaims better than anybody we have lately heard. He is accused of being violent, and of wanting pathos. Neither of these objections is true. His manner of delivering the first speeches in this play was admirable, and the want of increasing interest afterwards was the fault of the author rather than the actor. The fine suppressed tone in which he assented to Pyrrhus’s command to convey the message to Hermione was a test of his variety of power, and brought down repeated acclamations from the house. We do not lay much stress on his mad scene, though that was very good in its kind, for mad scenes do not occur very often, and, when they do, had in general better be omitted. We have not the slightest hesitation in saying that Mr. Macready is by far the best tragic actor that has come out in our remembrance, with the exception of Mr. Kean. We, however, heartily wish him well out of this character of Orestes. It is a kind of forlorn hope in tragedy. There is nothing to be made of it on the English stage beyond experiment. It is a trial, not a triumph. These French plays puzzle an English audience exceedingly. They cannot attend to the actor, for the difficulty they have in understanding the author. We think it wrong in any actor of great merit (which we hold Mr. Macready to be) to come out in an ambiguous character, to salve his reputation. An actor is like a man who throws himself from the top of a steeple by a rope. He should choose the highest steeple he can find, that, if he does not succeed in coming safe to the ground, he may break his neck at once, and so put himself and the spectators out of farther pain.

Ambrose Phillips’s Distressed Mother is a very good translation from Racine’s Andromache. It is an alternation of topics, of pros and cons, on the casuistry of domestic and state affairs, and produced a great effect of ennui on the audience. When you hear one of the speeches in these rhetorical tragedies, you know as well what will be the answer to it, as when you see the tide coming up the river – you know that it will return again. The other actors filled their parts with successful mediocrity.

We highly disapprove of the dresses worn on this occasion, and supposed to be the exact Greek costume. We do not know that the Greek heroes were dressed like women, or wore their long hair straight down their backs. Or even supposing that they did, this is not generally known or understood by the audience; and though the preservation of the ancient costume is a good thing, it is of more importance not to shock our present prejudices. The managers of Covent Garden are not the Society of Antiquaries. The attention to costume is only necessary to preserve probability; in the present instance, it could only violate it, because there is nothing to lead the public opinion to expect such an exhibition. We know how the Turks are dressed, from seeing them in the streets; we know the costume of the Greek statues, from seeing casts in the shop windows; we know that savages go naked, from reading voyages and travels; but we do not know that the Grecian chiefs at the Siege of Troy were dressed as Mr. Charles Kemble, Mr. Abbott, and Mr. Macready were the other evening in the Distressed Mother. It is a discovery of the managers, and they should have kept their secret to themselves. The epithet in Homer, applied to the Grecian warriors, kάρη kομόωντες, is not any proof. It signifies, not long-haired, but literally bushy-headed, which would come nearer to the common Brutus head than this long dangling slip of hair. The oldest and most authentic models we have are the Elgin Marbles, and it is certain the Theseus is a crop. One would think this standard might satisfy the Committee of Managers in point of classical antiquity. But no such thing. They are much deeper in Greek costume and the history of the fabulous ages, than those old-fashioned fellows, the Sculptors who lived in the time of Pericles. But we have said quite enough on this point.

Comments: William Hazlitt (1778-1830) was an English essayist, journalist and literary critic. William Macready (1793-1873) made his debut on the London stage on 16 September 1816 at Covent Garden in Ambrose Philips‘ The Distrest Mother, a translation of Jean Racine‘s Andromaque. Macready played Orestes, alongside Charles Kemble and William Abbot.

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