Text: Watson (?), Review of Mind among the Spindles, Broadway Journal (New York), September 6, 1845, vol. 2, no. 9, pp. ??-??

[page 138, column 1, continued:]

The Drama

PARK THEATRE. — We attended this establishment on Saturday evening to witness the first appearance (in America) of Mrs. Eland in the character of Pauline, in Bulwer's popular play “The Lady of Lyons.”

Before remarking upon the lady's performance, we cannot but make a few observations upon the circumstances of her first appearance. It would be impossible to select, throughout the entire year, an evening so entirely disadvantageous, as the one chosen for Mrs. Bland's débût. In the first place, Saturday night, even upon ordinary occasions, is confessedly the worst night of the week; but Saturday night after a star engagement is but another term for empty benches. Mr. Hackett had been playing all the week up to Friday, and the Keans had been announced for several days to appear on the following Monday. Could circumstances have been contrived more calculated to damn for ever the first efforts of a lady in a new country? We cannot believe that the selection of the night was intended as a slight to Mrs, Bland, because it would be against the interests of the Manager, who would, one would think, take every opportunity of ager, who would, one would think, take every opportunity of [column 2:] placing the principal members of his establishment, in as prominent and favorable a position as possible. We have thought of every likely motive for such injurious and unfair conduct, and the only conclusion we will arrive at is, that the strongest attraction which could be procured with the least possible trouble, and without reference to the injury likely to be sustained by the said attractor, was put forward — or rather backward — on the worst possible night. We regret this for the sake of the Lady — we regret it for the sake of the Manager, and we regret it also, for the sake of the Public, who have been deprived, for a time, of witnessing a performance of the highest merit. We trust that Mr. Simpson will afford us an early opportunity of seeing Mrs. Bland in some of her most prominent characters. The Lady of Lyons has been represented so frequently of late, that we are surprised to find that an audience can be collected to witness it.

The character of Pauline is easily defined, and though but rarely represented as the author designed, is still a creation consistent throughout. Her one great capacity is — Love: deep, earnest and devoted love. Before this great principle of her life has been developed, pride which is not native to her mind, has been engrafted there, but harmonizes not at all with the confiding nature of her true woman's heart. This pride has been severely shocked at the knowledge that a peasant has dared to raise his hopes to her; but it is soothed, comforted and excited, by the homage of a Prince's heart. When in the first flush of her almost unimagined happiness the fatal truth breaks in upon her — that she has been deceived — duped — exposed to the mockery and contempt of the whole city, this pride, in a great struggle with her humble nature, seems for a time to gain the mastery, when with bitter scorn she asks her deceiver if this is his palace, &c., &c.; but this passes quickly away, yielding imperceptibly to the finer emotions of her soul, until it sinks forever beneath the power of her devoted love. This we think reconciles the seeming inconsistencies in her character; such, for instance as yielding her hand to Beauseant while her heart is truly and only Melnotte's: for how could one of her wholesouledness refuse to sacrifice herself to save the honor of the author of her being, who, to use her own sentiments — “refused her nothing, and never spoke a harsh or unkind word.”*

Mrs. Bland's conception of the character was entirely natural from the beginning to end. There was no straining after effect — no points forced from their natural insignificance to produce a momentary sensation, — all was as inartificial as though the action were real, and she the thing she seemed. Her interview with Claude in the third act when the fraud is discovered, and the bitter scorn mingled with the hysterical laugh — the momentary triumph of pride over a yielding nature, was a perfect masterpiece of art, and electrical in its effects from its direct truthfulness. In the fourth and fifth acts she was equally successful, carrying the audience completely with her, and inducing a unanimous and vociferous call for her re-appearance at the fall of the curtain.

Mrs. Bland has fine natural advantages — a well proportioned and commanding figure — a truly intellectual face, capable of every variety of expression — a voice of rare quality, well educated, and an easy and graceful carriage. All these are used to admirable advantage through the perfect knowledge which Mrs. Bland possesses of by-play — stage tact, &c. [page 139:]

Mr. Dyott was the Claude of the evening. It is an arduous task to undertake even an easy character, after a successful and highly popular actor has made the part his own; but in the present instance Mr. Dyott had to contend with a difficult character, and against the extraordinary impression made by Mr. Anderson in the same rôle, upon the New York public. Bearing these facts in mind, we feared for him. The fear was, however, needless, for he acquitted himself with much credit. He read the part, throughout, correctly, and in many passages imparted much emphasis and passion to his delivery. But it was evident to us that the part had not been duly studied — the points had not been weighed and settled in his mind — there were frequent evidences of haste both in his action and delivery, and in speaking, the inflections of the voice so necessary to produce effective contrasts, were but little attended to, when most they were needed. These faults would hardly have appeared, had Mr. Dyott been afforded more time to digest the character: such at least is our opinion founded upon the general excellence of his personation.

Mrs. Vernon played the aristocratic and low-born woman in her usual excellent style, excepting that in one or two portions, especially in the third act, her manner bordered rather upon the caricature.

Mr. Bass is an admirable actor, and imparted much blunt dignity to the character of Damas. The accident which has deprived him, for the present, of the use of his right arm, has also prevented a full display of his powers.

Mr. Fleming is a careful reader and a good actor, and if he would impart more vigor to his manner, and strive to appear less mysterious, his style would be improved and he would stand a fair chance of becoming a distinguished favorite.

Mr. and Mrs. Charles Kean appeared at the Park. They made their debut in the Gamester. The house was crowded to excess, and as the management does not set apart any accommodation for the prominent members of the public press, we were unwilling to endure the crowding of a thousand infuriated (theatrically) people; consequently we can give no notice of the performance. Their success was, however, complete. Mrs. Kean was deeply affected by the cordial and enthusiastic reception she met with. She deserves it all.

The English opera company succeed the Keans in a couple of weeks, and the opera chosen for their appearance is the English version of the Sonnambula. It is old — very old: hackneyed, very hackneyed, and has become to the moderns what the Artaxerxes of Arne was to the singers of twenty years ago — namely, a trial opera. The system of appearing in old operas, is, however, judicious: for if a debutante should appear in a new, but unsuccessful work, the chances are that the failure of one would involve the failure of both.

Miss Delcy, will, we think, become a favorite in America, for she is young, showy and attractive in her manner, besides being a singer of no ordinary merit.

——

We gladly avail ourselves of the author's permission to occupy, this week, some portion of our usual space under the head of “The Drama,” with an extract from a forthcoming Work — “The Stage, or Sketches of Dramatic Art,” By JAS. E. MURDOCH.

THE AUTHOR’S CONNECTION WITH THE STAGE. — All I wish, as one naturally anxious for the success and the respectability of my own profession, is to suggest the immense advantages resulting to every player from a just ambition in his [column 2:] daily pursuit; and as one who have identified myself with the success of the drama in our country, I feel impelled to speak on a subject so intimately connected with its advancement. Of my own attainments, I have nothing to boast. Commencing life prematurely, like many others fascinated by the stage in youth, the daily toils of an arduous professional life have left me little leisure for study; and although I had hoped to find, during the lime in which I temporarily relinquished the stage, an auspicious opportunity of self-culture, in the pursuits of an elocutionist, the taste for the accomplishments of reading and speaking I found not yet sufficiently diffused in the community, to furnish either the leisure or the compensation requisite for the enjoyment of a liberal scale of intellectual advantages, in connection with that mode of life.

THE AUTHOR’S EXPERIENCE AS AN ELOCUTIONIST. — So little, indeed, is the art of elocution yet appreciated, that, as a profession, it is still more precarious and inadequate in its remu merations than even the stage, which is proverbially so; the greatest and the most original treatise on the subject (a work in which its author, Dr. James Rush, reflects honor on his country,) is little read and less understood; and my own humble attempt to render elocution a permanent branch of education, even in the intelligent city of Boston, — although I was aided in my endeavors by the exertions of a gentleman long known as a practical rhetorician as well as elocutionist, — was not sustained; nor was the expensive undertaking countenanced, in which I endeavored to combine, — in an appropriate course of education embracing ample and eligible opportunities for the purpose, — the cultivation of the voice with a regular system of physical exercise.*

THE AUTHOR’S RETURN TO THE STAGE. — The idea, therefore, of obtaining an adequate income, or of enjoying leisure for self-culture, in such circumstances, proved impracticable. Still, during the few years in which I withdrew from the stage, every moment that could be seized for such purposes I have endeavored to turn to account; and, whatever verdict may be pronounced on my future professional efforts, I shall never regret the results of a temporary change of pursuit, which has enabled me to look, at least, a little more closely into our dramatic literature, and to acquire juster views of its depth and extent, together with a deeper and more intelligent relish of its beauties.

Of one thing more I can speak distinctly, from my present point of view: and it is in this light that I hope to be understood. The more an actor devotes himself to the collateral studies of his profession, the more clearly will he see how high and noble are its objects, and how fully it is entitled to the best exertions of a life, as the merited price of success in [page 140:] its pursuit. I shall not, I think, incur the imputation of cant, when I declare my own conviction, that acting, as the living presentation of poetry, of sentiment, and of character, is one of the most elevated and beneficial occupations to which a man can devote himself. Invited by a peculiar combination of circumstances, I have resumed the stage as my vocation, and shall esteem myself happy to contribute the imperfect but zealous exertions of an individual, to promote its purposes, whether within the limits of my own profession, or in general society.

DEPRESSION OR THE THEATRE IN AMERICA. — The drama of our own country has usually been imported; and, with its uses, we have received its abuses.

We claim Shakspeare as our birthright, and honor him with enthusiastic admiration; but when our transatlantic brethren neglect him, to follow in golden multitudes at the heels of a French dancer, the signal is taken here. The star of Shakspeare wanes, and the genius of Terpsichore reigns sovereign of the ascendant.

The taste for the drama subsided for a time, while French dancing, in all the voluptuousness of the Parisian style, usurped its place. Giants, monsters, posture-masters, and the games of the circus, with other equally intellectual exhibitions, have occupied the theatre; while the neglected drama was brought to their degraded level, and made to bear the odium of those who disgrace its name and desecrate its temple.

That the theatre has declined within the last few years, no one can deny; and why is this? Simply because the age is before it. Moral reform is the order of the day; and the enemies of the stage have attacked it upon the ground that it encourages immorality. Portions of the theatre are set apart for the public exhibition of the most abandoned of the human race, while the passions are excited by the sale of spirituous liquors. Has either of these objectionable facts any legitimate connection with the stage or the drama? Public sentiment answers No! Then let these abuses be abolished! That they have been so long in existence, is no reason for their continuance. No longer let the pure atmosphere of intellectual recreation be contaminated by grossness and debauchery; but drive them out, to seek their congenial sphere.

Prejudices against the theatre have been yearly gaining ground from these causes, and many of the best friends of the drama have been driven from the theatre. Let the banner of reform be raised, and the public will flock to the standard. Let the abuses of the theatre be removed, and the spirit of the drama will shine forth with increased brightness.

Let men of cultivated intellect assert their right to enjoy in its purity their favorite recreation. Let them enforce their just claim in this respect. Let them diffuse the influence of their own taste around them by proper appeals to general feeling. Let all who are connected with the press, especially, discharge the duty which, in this relation, they owe to the community, as the organs of public sentiment, and the just guardians of its purity.

The reforms to which I allude have been attempted and carried out, with at least temporary success, in all cases in which due energy and perseverance have been displayed. For my own part, I entertain no doubt that, in a short time, the reformation will be universal and permanent. The present is a most auspicious moment for action. We see, in all our large cities, an incipient renovation and resuscitation of the theatre, and the most cheering indications of its prosperity. Now is the happy moment to stamp a new character on every department of dramatic affairs. [column 2:]

The following statement evinces that the public, as well as the manager, has a part to perform in every effectual renovation of the theatre.

Mr. Macready entered upon a lease of Drury Lane theatre, in the fall of 1841, and issued a prospectus dated October 4, in which this passage occurs: —

The purposes to which the saloons and lobbies of London theatres have been too frequently appropriated, have seemed to justify objections to dramatic entertainments, and have become a national reproach among the well-informed of other countries. This cause of complaint will not be suffered to exist in Drury Lane theatre. Arrangements will be made and regulations enforced, not only to secure the respectable frequenters of the theatre from annoyance during the performance, but to restore to them an agreeable walk for promenading and refreshment, without danger of offence to propriety or delicacy.

This was carried out to the letter. In June, 1842, a scurrilous article on Macready and his management, appeared in the “Weekly Despatch,” alleging among other things the failure of his plan for clearing the lobbies, — that the price admitted any well-dressed woman, of whatever character, to the side of the respectable ladies whom Macready had drawn into the lobbies; in fine, that “Mr. M. ought to be ashamed of himself for attempting to raise money by destroying the demarcations between the unsullied and the most polluted of the sex.” Macready instituted a libel suit against the proprietors of the paper, and the jury found for the plaintiff five pounds damages.

Mr. Macready closed his management of Drury Lane in June, 1843. In his concluding address, he makes no mention of his reform of the lobbies — unless it is implied in this declaration:

In conclusion let me merely add, that I have endeavored to redeem, throughout my management, every pledge of my introductory address.

The admission of improper persons at theatres, as at other places of public resort, would, if the proposed arrangement were adopted, be left to the responsibility of the gentleman who accompanied any female, and by that fact endorsed her respectability.

The Bowery is not doing quite so well as in the beginning. A new spectacle, however, is in preparation.

We stepped in at The Chatham on Monday night to see Booth in Pescara and Jerry Sneak. How The Apostate maintains its place on the stage, is inconceivable. It has not a single redeeming feature — at least if the Chatham Street representation of it is a fair one. Mr. Booth did not impress us at all — except in the distinctness of his enunciation and his general ease and freedom from rant. He has a sad mannerism — that of putting his hands to his ears upon all occasions. His Jerry Sneak is a pitiable spectacle.

[The following footnote appears at the bottom of page 138, column 2:]

* For these comments on the performances at the Park we are indebted to our musical editor. We do not agree with him at all points. In especial, we see no necessity for reconciling the inconsistencies of Pauline — Ed. B. J.

[The following footnote appears at the bottom of page 139, column 2:]

* The above topics I cannot pass without nn expression of aeknowledgment to two individuals: — Mr. William Russell, the rhetorician above referred to, for invaluable aid in my course of personal study with him — and Mr. N. Houghton, whose regard for subjects beyond the mere range of mercantile life, and whose liberal and philanthropic spirit, enabled me to offer to the citizens of Boston the opportunity of a superior establishment for physical and elocutionary education. Mr. H.'s interest in these subjects, and others of a kindred nature, has, in this, as in many other instances, evinced the benefits resulting to a community from the generous spirit of individuals in private life, who contribute the most effectual of all aids to the mental welfare of their fellow-citizens, by imparting the requisite means of establishing and maintaining institutions devoted to the culture and improvement of humanity.

To several eminent members, both of the medical and clerical profession., who gave their sanction to my endeavors to aid the depart. meat of physical education, I feel under peculiar obligations, as well as to Mr. Abbott Lawrence, Mr. George S. Hillard, Mr. Peleg W. Chandler, and other individuals, who, as parents, or as patrons of intellectual objects, exerted themselves on behalf of my purposes. I cannot but hope that it may fall to some oilier person than myself to establish and maintain the systematic cultivation of the voice, as an acknowledged branch of education.