DRAMATIC CENSOR.

I have always considered those combinations which are formed in the playhouse as acts of fraud or cruelty. He that applauds him who does not deserve praise, is endeavouring to deceive the public. He that hisses in malice or in sport is an oppressor and a robber. Dr. Johnson's Idler, No. 25.

DOMESTIC CRITICISM.

In dramatic criticism the leading characters of the play, and the actors who perform them, lay claim to the first and most particular investigation. Those upon whom the more enlightened part of the public have bestowed the greatest approbation, require the most severe scrutiny, since they only can affect the public taste. Birds of passage too who like Mr. Cooper and Master Payne "come like shadows, so depart," are entitled to priority of attention; we therefore in our last number, travelled with Mr. Cooper through the characters he performed on his first visit to Philadelphia, without adverting to the other performers, except in a few instances, in which the sterling merit of Mr. Wood impressed itself so strongly on our minds, that we could not resist our desire to do it justice, and his characters were so closely connected with those of Mr. Cooper, that we thought they could not well be separated. It would indeed be difficult to discuss Mr. Cooper's merits in Zanga or Pierre, without dwelling upon the able support he received in them, from Mr. Wood's Alonzo and Jaffier. We cannot, however, drop Mr. Wood there, since we rather glanced at, than reviewed his performances. The public no doubt expect something more from us on that gentleman's subject: the rapid

advances he makes to professional excellence, and the large space he now fills in public estimation, leave to the critic no discretion. Such as the actor is, he must be shown. It is a duty which we could not evade if we would; and we should be sorry to be so deficient in taste, as not to discharge it with pleasure.

Of no actor with whom we are acquainted can it with more truth be said than it may of Mr. Wood, that he never performs a character positively ill. A judgment clear, sound, and in general severely correct, with exemplary labour and industry, secure him completely, even in those characters for which he is least fitted, from offending the taste of his auditors, or rendering his performance ridiculous; an assertion we would hazard on the head of very few if any actors in America. This is to put our opinion of him at once at the lowest yet even that would appear something to any one who could conceive the disgust with which it often falls to our lot to turn from the scene before us.

There is not in the whole catalogue of acting plays a character more disadvantageous to an actor, than that of Alonzo. A compound of imbecility and baseness, yet an object of commiseration: an unmanly, blubbering, lovesick, querulous creature; a soldier, whining, piping and besprent with tears, destitute of any good quality to gain esteem, or any brilliant trait or interesting circumstance to relieve an actor under the weight of representing him. In addition to this, there are so many abrupt variations and different transitions that it requires great talents in an actor to get through it, without incurring a share of the contempt due to the character. Viewing him in this way, we could not help regretting that it should devolve upon a young actor, who could scarcely expect to escape unhurt in it. Our surprise was great, nor was our pleasure less, to find in Mr. Wood's performance, a pleasing marked delineation of the best features of Alonzo, with the worst considerably softened and relieved. Seldom is a character so indebted to the aid of an actor as this to the judgment of Mr. Wood. Dr. Young's muse flags most dole

fully in this part, and Mr. Wood did more than could be expected to bear her up. We could not help wishing upon the occasion that Alonzo could have bartered a portion of his judgment for a share of the physical powers of Zanga; both would profit by the exchange.

In the Copper Captain Mr. Wood had a character very favourable to the actor, and well suited to his powers and talents. Michael, however, is one of those vigorous productions of the old comic muse in which a player incurs the danger of overshooting the mark in his efforts not to fall short of it. One in which while the judicious actor luxuriates, and gives a force to his whole comic powers, he finds it difficult to observe very strictly the ne quid nimis of the critic. The correct and chaste judgment of Mr. Wood kept the bridle so firm on his performance of it, that we do not think he once "o'erstepped the modesty of nature."

In his performance of Iago we thought Mr. Wood inferior to himself. How could he or any actor be expected to get through his business under the circumstances of the theatre on that evening. A band of drunken butchers had got into two of the front boxes, and converted them into a grogshop!

In the prince of Wales in Henry IV. Mr. Wood displayed the versatility of his talents. In the gay, thoughtless, trifling rake, the "madcap" prince, he was spirited, and playful without puerility; in the serious parts, whether as the penitent apologizing son, or the martial hero, he was judicious, impressive, and not deficient in military importance.

Where we see so much merit, merit so entirely his own, we advert to faults with great reluctance. But it is our duty and we must do it. Of the contagious nature of the KEMBLE PLAGUE in acting we cannot adduce a more lamentable proof than that it sometimes taints even this very judicious performer. How has it been endured by the British public, how can it be reconciled to common sense, that players who are supposed to represent human beings, and who assume to speak and act as men in real existence, speak and act in the

commerce of the world, should constantly utter the lines set down for them, in such a manner as no rational creature in real life ever yet did utter them, or ever will? Does it give force, interest or dignity to the lines of a speech to take up twice or thrice as much time in speaking them as the most formal, deliberate, or pompous prig of an orator would employ upon them? Why will not actors condescend to speak "like the folks of this world," particularly as they pretend to imitate them? We never were at a royal levee-but we have been at the pains to ask several persons who have been, whether any king, or prince, or peer spoke there, as Mr. Kemble or as Mr. Holman, or Mr. Pope after him, speak in Hamlet, Richard, Macbeth, &c. and the uniform answer has been that the great men at court speak just like all gentlemen in private society. As to public orators, we can say that Mr. Kemble and his disciples occupy one third, or at least one fourth more time in delivering any given number of words than ever the stately William Pitt in his most slow and solemn exordiums. Yet this they call speaking naturally— imitating the conduct of men.

We do not allude to proper pauses, in the duration of which the actor may be allowed some little license-and an extension of which is frequently a beauty, Thus when Balthazar informs Romeo of Juliet's death, Mr. Cooper maintained a pause of great length with the most felicitous effect. He stood overwhelmed, stupified, and bereft of speech with horror and astonishment, then said

"Is it even so?-then I defy you stars!

and paused again. Here like a great artist he filled up the picture of which Shakspeare only gave the outlines: but when, afterwards he expostulated with the apothecary, we could see no reason why he should deliver out the lines syllable by syllable like drops of blood reluctantly given from the heart.

Art-thou-so-bare-and-full-of-wretchedness

And-fear'st-to-die?

To us the last appeared as ludicrous as the former was beautiful and affecting. But, "in the name of all the gods at once," why this? Though Mr. Wood sometimes falls into this error, a few of the first lines of his Jaffier smacked of it wofully. We should find no apprehension of laying any sum upon it, if the thing could possibly be ascertained, that in pronouncing the words

Not hear me! by my sufferings but you shall!

My lord-my lord! I'm not that abject wretch
You think me.

he occupied full double the time that Barry did, or even the late Hodgkinson, whose good fortune it was not to have studied, or seen, or drawn one drop of his professional sap from the great root of these abuses. It is said by some of Mr. Kemble's advocates that he speaks in that manner from necessitythat he does it to nurse his voice in the beginning, which else would flag before the end of a long performance. If this were a sufficient excuse for Mr. K. we should not disallow it in the case of any other gentleman who labours under the disadvantage of a weak voice. But we think it is not; it would be infinitely better for the audience to compound with the actor and allow him resting between the speech times. The majestic Spranger Barry when we last saw him was not only so decrepit that he hobbled along the stage, and so bent in the middle that his body formed an angle with his lower limbs, almost as acute as that of a mounted telescope, but was so encumbered by infirmity and high living that upon any violent exertion of the lungs he puffed very painfully; yet even in that state we have heard him speak the part of Rhadamistus in Zenobia, with all the fire, rapidity, and animation of youth, his fine person all the time raised erect for the purpose: but as soon as the speech was over, down he sunk again to his angle, and puffed and blowed, while the audience, with emotions mixed up of admiration and grief gazed in a kind of melancholy delight on the finest ruin that ever time made in the works of nature: thunders and shouts of plaudits