Source: George Henry Lewes, On Actors and the Art of Acting (Leipzig: B. Tauchnitz, 1875), pp. 16-17
Production: William Shakespeare, Othello, Drury Lane Theatre, London, November 1832
Text: Kean’s range of expression, as already hinted, was very limited. His physical aptitudes were such as conﬁned him to the strictly tragic passions and for these he was magniﬁcently endowed. Small and insigniﬁcant in ﬁgure, he could; at times become impressively commanding by the lion-like power and grace of his bearing. I remember, the last time I saw him play Othello, how puny he appeared beside Macready, until in the third act, when roused by Iago’s taunts and insinuations, he moved towards him with a gouty hobble, seized him by the throat, and, in a well-known explosion, “Villain! be sure you prove,” &c., seemed to swell into a stature which made Macready appear small. On that very evening, when gout made it difﬁcult for him to display his accustomed grace, when a drunken hoarseness had ruined the once matchless voice, such was the irresistible pathos—manly, not tearful—which vibrated in his tones and expressed itself in look and gestures, that old men leaned their heads upon their arms and fairly sobbed. It was, one must confess, a patchy performance considered as a whole; some parts were miserably tricky, others misconceived, others gabbled over in haste to reach the “points”; but it was irradiated with such ﬂashes that I would again risk broken ribs for the chance of a good place in the pit to see anything like it.
Comments: George Henry Lewes (1817-1878) was an English literary critic and philosopher, best-known now as the partner of the author George Eliot (Mary Ann Evans). The ailing Edmund Kean, reaching the end of his career and his life, and William Macready disliked one another. Kean had previously avoided acting opposite his younger rival. Macready complained at how Kean upstaged him by taking up unfair positions on the stage. Kean died just a few months later, on 15 May 1833.
Links: Copy at Hathi Trust