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lists in his army. The ground-work of the piece was bad, and the edifice still worse. The dialogue consisted almost wholly of old jokes; and the entire production bore the appearance of shameful neglect. To say nothing of himself, Mr Hook does not do justice to the actors, when he sets before them such crude, undi

gested characters. The music of the opera was composed by the author's father, and bore the marks of almost as little pains and study as the words..

On the 20th of September, the theatre closed for the season, thanks being returned by Mr Raymond, the stage manager.

SCOTTISH DRAMA.

We know not how far we shall be held justifiable, in making the metropolis of Scotland an exception from our general rule, which excludes from critical notice any theatres save those of London. But, independently of its claims upon us in other respects, we trust it will be admitted, that the city so proudly distinguished by its eminence in philosophy, science, poetry, and criticism, may impart to its theatre a consequence of character not unworthy of notice in a work like this, and raising it above all the provincial establishments, to an intellectual rivalry even with the theatres of the sister metropolis.

In the present year, 1809, the term of the old patent expired, and with it, the management of the family of the late Mr Jackson and Mr Rock. The situation of manager was offered to public competition, upon a lease of five years; and, among various offers, the proposals of Mr Henry Siddons were at length accepted as the most eligible, by the following gentlemen, to whom the patent is as

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signed by the patentees, Lord Melville and the Duke of Buccleuch :Right Hon. Lord Chief Baron. Right Hon. Lord Advocate. Right Hon. Lord Provost of Edinburgh.

Right Hon. Robert Dundas, of Mel-
ville.

Sir P. Murray, of Auchtertyre, Bart.
Sir John Hay, of Haystown, Bart.
Mr Solicitor General.
Dean of Faculty.
Gilbert Innes, Esq.
David Hume, Esq.
Walter Scott, Esq.
William Erskine, Esq.
Henry Mackenzie, Esq.

Some disputes and difficulties having arisen with the proprietors of the theatre hitherto used, respecting the terms of rent or purchase, Mr Siddons was under the necessity of engaging the extensive rooms erected by Mr Corri for his musical performances, for the purpose of converting them into a temporary theatre, until a new one could be built, of a magnitude and character better suited to the population and taste of this city.*

* This at least was the intention when the arrangements between Messrs Siddons and Corri were first entered upon; but since then, we believe the design has been abandoned, as Mr Siddons has very lately concluded terms of purchase with

VOL. II. PART II.

2 B

To the new manager the people of Edinburgh felt themselves entitled to look, with justifiable expectation of being gratified by an improvement in the selection and style of their public entertainments. The great fame of his mother, to whose sublime talents we have ever paid the tribute of enthusiastic admiration, was a passport to our good opinion; and the report of his own professional reputation, together with his known literary habits, confirmed that warm and respectful welcome with which we gladly received the son of Mrs

Siddons.

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Mr Nasmyth, an artist of considerable celebrity as a landscape painter, had been chosen as architect, to design and superintend the alterations within the walls of Corri's rooms; and, from his taste and talents, the utmost elegance and propriety were expected. The work was carried on with unusual rapidity, and on Tuesday, the 14th of November, 1809, the new theatre was opened to the public with the performance of Tobin's comedy of The Honey-Moon," and the farce of "Fortune's Frolic." The first aspect of the house occasioned universal disappointment. The whole decorations were Gothic, and strongly partook of the dark and sombre hue, which that style never fails to communicate, and is indeed intended to communicate. For this obvious reason, we must decidedly object to that style of architecture in places appropriated to public amusements; its associated character in the mind being assuredly the reverse of entertainment and enjoyment. We are aware that fashion has given to the Gothic its imposing sanction, and

consequently, from the mansion to the mousetrap, all is Gothic. The Gothic is so picturesque, so beautiful, and so sublime!-So it is,-in proper situations, and upon proper occasions; but fashion, though originally the offspring of taste, is also the most dangerous corrupter of it; it is an unnatural child, and is eternally endeavouring to destroy the existence and usurp the throne of the parent to whom it owes its birth. True taste, founded on a correct knowledge of human associations, seizes and applies such circumstances only as harmonize with, and increase the expression of, genuine character; fashion exalts some single excellence to a capricious reputation, and, disregarding nature and propriety, extends it to all subjects upon all occasions. Taste studies original intention, and improves characteristic capabilities. Fashion mingles heterogeneous expressions, unites anomalies, and combines discordancies.-Upon these principles we condemn the artist who erects a Gothic theatre; who, when constructing a place where the mind wishes to unbend from the serious pursuits and important duties of life, compels us, by the style of his building, continually to recall the solemn feelings con. nected with the gloom of monastic piles, and the melancholy reflections inspired by the monuments of antiquity. To carry on the absurdity of effect, the scene painter had cho sen, or had been directed to chuse, for the subject of the scene which is lowered between the acts, (which is technically called the drop scene) the ruins of Melrose Abbey, with all its accompaniments of saints, tombs, and frowning martyrs! Mr Scott, by the

the proprietors of the old building, to which he returns after it has undergone suit able enlargements, alterations, and amendments. The term of Mr Siddons's lease has also been lengthened to the full duration of the patent, to wit, twenty-oney cars. - March, 1811.

celebrity which he has attached to that venerable pile, was probably the unconscious cause of this vile jumble; but Mr Scott's abbey is in its proper place So strongly and constantly did the impropriety of these things strike the public, that, in deference to general opinion, and in conformity with better taste, the house was repainted during its first vacation, and the Gothic has given place to the Grecian character: we still, however, think fit thus to notice its original deformity, and let our protest against it remain as a conscientious, though feeble effort, against the recurrence, here and elsewhere, of similar offences. Among the company (a very respectable one) with which Mr Siddons commenced his season, were se veral worthy of particular notice.

Of Mr Siddons himself we have already given an account in our last year's Register, and hold it needless now to say more, than that a more constant observation of his perform ances leads us to accede to its truth. As a manager, Mr Siddons has shewn himself entitled to the warmest commendation and respect of the public. With a sufficient attention to that popular taste which demands shew at the expense of sense, and by which, in spite of the condemnation, real or affected, that is continually fulminated against it, the profits of a theatre are best served, he has, at the same time, furnished food in abundance for the classical critic, such as the most fastidious taste might approve, and the purest enjoy. Of his splendid and careful revival of several of Shakespeare's plays, and of many of our most sterling comedies, and of the production of some original pieces, we willingly speak in terms of high praise. Our commendations are due also to the celeri.

ty with which the successful novelties of London have been brought before the Edinburgh audience, and for the continual succession of the first talents in every department of the profession which the kingdom possesses.

At the head of the performers who appeared on our stage for the first time, must undoubtedly be placed Mr Terry; an actor of very comprehensive and very eminent talents. He has successfully exhibited his powers in tragedy, comedy, pantomime, and farce; and, with the exception of lovers, fine gentlemen, and vocal heroes, there is scarcely a class of characters in the range of the drama, some one of which he does not fill with excellence. His figure is not striking, though muscular and active; but he has a powerful voice, an expressive countenance, and an intellect eminently clear, vigorous, and discriminating. Quick to perceive, and eminently happy in conveying, the true meaning of his author, Mr Terry's most striking characteristic is intellectual vigour; vigour not wasted in verbal criticism or doubtful innovation, but exhibited in a luminous, consistent, and identical display of general character, and an unerring attention to those minute particulars, by which the most assimilating parts are, or ought to be, discriminated. In tragedy, his merit is equal in those characters which exhibit the strong workings of a powerful mind, or the deepest tortures of an agonized heart. But his grief is best when it is required to be vehement; the tone of his feelings is ardent and impassioned; and we do not see the full effect of his powers, unless when his grief is exasperated to frenzy, or combined with the darker shades of guilt, remorse, or despair. In the display of

tender emotion, we should think he would fail; but he carefully abstains from those characters in which it is required. He has performed King John, Lear, and Macbeth, all of them with approbation, the two first with distinguished applause. In the celebrated scene with Hubert he excited a sensation of horror which thrill'd the whole audience; and in Lear he marked with equal power the shades of incipient insanity creeping over the mind, and obscuring ere they altogether eclipsed the light of reason. In comedy, he excels chiefly in old men; equally in those of natural every-day life, as in the tottering caricatures of Centlivre, Vanburgh, and Cibber. His Sir Peter Teazle, Sir Bashful Constant, and Sir Anthony Absolute are extremely good; and in Lord Ogleby we are inclined to think he has no rival on the stage. He has also essayed the arduous character of Falstaff, and, notwithstanding the disadvantages of a thin face and figure, he has, by the power of his penetrating and accurate intellect, raised it to an equality with any one he performs. In characters of amorous dotage and fretful peevishness, he is not less successful; of which his Sir Francis Gripe, Don Manuel, and Sir Adam Contest are excellent instances. He is very entertaining also in Major Sturgeon and Sharp; but, besides that his face and figure, being less made up than in Falstaff, are still more unpropitious to him in the doughty Major, than in the jolly Knight, we think he has not yet succeeded in attaining the genuine features of vulgarity or low life.

The chief fault of this excellent actor, is want of ease. In tragedy, he is often impressive, affecting, and even sublime; in comedy, humorous, satirical, and droll: in both he is classi

cally correct; but he is never simple or flowing. His conceptions are just and original; but we sometimes perceive the working of the springs, when we should only be impressed by the felicity of the effect. There are certain characters in which this exhibition of the machinery does well; but it ought in general to be avoided. This error in Mr Terry we hold to have had its origin in the peculiar distinctness of his perceptions, the accuracy with which he is accustomed to analyze his characters, and a laudable anxiety to present them to his audience with unerring clearness and effect. This has imparted to his delivery an air of weighty precision, and oracular strength, which, though always vigorous and effective, is not always pleasing or appropriate. It has led also to a violence and frequency of emphasis, that aggravates the defects of a voice at all times rather powerful than melodious, and demands, for strong passion, an exaggeration and vehemence of tone and action, which not only injures the expression, but exhausts the performer. Yet Mr Terry never rants; he sometimes gives needless or hurtful force to a just feeling, but he never exhibits a false one. Were this fault corrected, and, being still in the early vi gour of life, there is nothing to prevent him from correcting it, we scarcely see an eminence to which Mr Terry may not hope one day to attain. We entertain this expectation with the more confidence, because the rank which he has already reached depends, as we have said, less upon mere personal qualifications than on the constant and uniform exertions of a mind acute, intelligent, well-informed, and, we believe, decidedly bent upon the attainment of professional excellence. His soul appears to us to

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be devoted to his profession, and that with an enlarged and comprehensive view of his object. The exertions of each evening seem a part of one general system. We never observe those starts of caprice or negligence, too often indulged by performers, who, having acquired the public favour, they themselves know not why, endanger the loss of it they know not wherefore. It is a corresponding part of Mr Terry's merit, that on the stage he is uniformly attentive to the general business of the drama, and to the support of his dramatic character. He never marks by his manner of playing that he is addressing an audience, or even that he is conscious of their presence. And as he is attentive to the maintenance of his own character, he aids, as far as possible, the scenic illusion, by acting as if those on the stage along with him were actually the persons they represent. This is a point much neglected by some performers, who, conscious of real merit themselves, conceive it gives them a right to despise their inferior brethren, forgetting, that if Hamlet marks by his contemptuous conduct that his bosom confidant, Horatio, is only Mr, he inevitably forces upon the audience the conviction, that the Prince of Denmark is himself but a shadow. To receive as genuine the base coin which a manager must occasionally put into circulation, may sometimes be a trial of patience; but the more a performer of merit aids the theatrical delusion, by appearing to act with real persons, and under the influence of real motives, the more he will frame the audience to that state of mind on which his higher and solitary efforts are calculated to produce the most favourable effect. It is upon our conviction that Mr Terry acts from a happy

mixture of genius, good taste, and mature reflection, that we venture to augur boldly of his future fortunes, though not to presage the extent of his success. The extent of the triumph of personal qualifications, even the most brilliant, can be readily estimated; but there is no placing bounds to the march of mental energy, where there are no physical obstructions to its career.

Mr Archer is a veteran in the profession, of no brilliancy of talent, and with no very careful or laborious finish of those moderate qualities he possesses; he is, however, equable, sensible, and natural, and in parts which long possession has mellowed in his mind, and which otherwise suit his powers, he is listened to with attention and respect.

Mr Berry is a low comedian of uncommon natural abilities, unassisted by study, and unimproved by art. The rich and humorous simplicity, the good-natured archness of rusticity, the unlaboured and identical truth of his expression, remind us of the character of Weston's talents: in the feebleness of old age he is no less successful. He is indebted for his excellence solely to nature; but he is sadly neglectful of her bounties. They are suffered to run to waste, and talents which, with cultivation, might rise to perfection in his characters, are stifled by a slovenly inattention and careless indolence, and expiring amidst habits which would destroy the finest powers. His old Philpot in the Citizen, and his Jerry Sneak, are exhibitions of uncommon excellence.

Mr Mason, in parts of grotesque antiquity, of a dry, snappish ill-temper, a waspish, petty, comical, cunning, is admirably entertaining. The extreme minuteness of his figure, the

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