London, Published March 11829, by Whittaker, Treacher & Arnott, Ave Maria Lane, & at the Artists Depository, & Public Library, 87, Charlotte Str Rathbone Place.

1

THE

DRAMATIC MAGAZINE.

MARCH 2, 1829.

THEATRICAL JOURNAL.

DRURY LANE.

MONDAY, Feb. 2, 1829.-Caswallon; Walker.-The Little Captive.The Queen Bee; Barrymore.

TUESDAY, Feb. 3.-The Stranger; Thompson.-Ballet.-Pantomime.

WEDNESDAY, Feb. 4.-Love in Wrinkles; Lacy.-The Green-Eyed Monster; Planché.-Pantomime.

THURSDAY, Feb. 5.-Charles the Twelfth; Planché.-The Youthful Queen; Shannon.-Pantomime.

Charles the Twelfth is by far the most deservedly-successful drama that has appeared for some time. Mr. Farren's performance of the hero is almost beyond praise, he so completely identifies himself with the character in dress, deportment, and habit; in short, we may say with the poet, he appears

"In the same figure, like the king that's dead."

The character of Adam Brock reflects equal credit both to the author and the player. It has no coarse buffoonery, no strong caricature; the humour throughout is quiet and chaste, and though no unnatural expedient has been resorted to for forcing a laugh, the author has produced as much mirth as if he had made his hero walk in his sleep, or sold him to the devil. This was Mr. Liston's first appearance since his late accident.

FRIDAY, Feb. 6.-Rienzi; Miss Mitford.-Ballet.-Pantomime.

SATURDAY, Feb. 7.-Charles the Twelfth; Planché.-Portrait
of Cervantes; Griffulhe.-Pantomime.

MONDAY, Feb. 9.- Cymbeline; Shakspeare.-Pantomime. Though we do not altogether agree with Dr. Johnson in his opinion

of this tragedy; or rather dramatic romance (for it cannot well be considered in any other light), we must confess the irregularities are very numerous: it notwithstanding contains an infinity of beauties, both with respect to character, passion, language, and incident; so that, although the judgment is displeased with the improbability of the plot and inconsistency of the dramatic action, the mind receives the highest satisfaction by contemplating the wonderful strokes of genius with which it abounds. Miss Phillips sustained, for the first time, the part of Imogen. There are few characters, in the whole range of Shakspeare's dramas, more difficult to personate than this unfortunate princess; it being so exquisite a picture of noble and persevering constancy, devoted affection, and youthful innocence. Miss Phillips's conception of the character was generally correct; she certainly possessed much of the dignity of the princess, and some of the more impassioned scenes were well executed; but she failed to give proper effect to that beautiful vein of artless simplicity which runs throughout the part. In the scene where Imogen rejects the insolent address of Iachimo, her whole tone, gesture, and attitude, well expressed the indignation of insulted virtue; and in the interview with Pisanio, at Milford Haven, where Imogen is made acquainted with her husband's cruel instructions, she played with much feeling. When Imogen appears in male apparel, there is a playfulness in the language so truly natural, especially as she is about to enter the cave, when she says,

"But fear the sword like me, he'll scarcely look on't.

"Such a foe, good heavens!

which Miss Phillips completely failed to impart. Before we quit this lady, there is one great error in her acting which we should be glad to see corrected; that is, from a too eager desire of gaining applause, in a very quiet passage elevating her voice to the highest pitch. This error not only destroys the effect of those passages that require unusual energy in delivery, but it gives a most wearisome sameness to her acting. Mr. Young's Posthumus, though by no means equal to many of his other efforts, was a truly just and pleasing performance. His threat to Iachimo, after he has accepted the wager, that "should the lady remain unseduced, for your ill opinion and the assault you have made on her chastity, you shall answer me with your sword," was delivered with a nobleness and dignity of manner which proclaimed him worthy of the love of so fair a princess. In the opening scene of the third act he was pre-eminently successful. The confidence with which he encounters Iachimo on his return, his firm reliance on Imogen's honour, the impatience with which he retorts Iachimo's calumnies, and the various objections (even after his faith in Imogen's fidelity begins to stagger) against the truth of Iachimo's tale, were well depicted.

He met with very great applause in the last scene, where he discovers himself to Iachimo, as also in his expressing remorse and despair for having given credit to the calumnies of the "Italian fiend."

Mr. Cooper's Iachimo was a clever piece of acting, distinguished throughout for judgment and correct delivery; but his manner has not altogether sufficient ease, nor his voice the flexibility, to give due effect to some parts of the character. We have seldom seen the part of Pisanio so well sustained as it was on this occasion by Mr. Younge; his declamation was very correct. Mr. Browne was amusing as Cloten. Belarius has some very fine language to deliver; but Mr. Aitken, though he possesses a good voice, is a very turgid speaker, and moreover did not know his part.

We wish the manager would turn a little of his attention to his wardrobe, for the dresses were most disgraceful for such an establishment. Mr. Mude wore a crown unfit for a king at Bartholomew Fair.

TUESDAY, Feb. 10.-Charles the Twelfth; Planché.—The Portrait of Cervantes; Griffulhe.-Pantomime.

WEDNESDAY, Feb. 11.-Siege of Belgrade; Cobb.-Love in Wrinkles; Lacy.-Pantomime.

THURSDAY, Feb. 12.-Charles the Twelfth; Planché.—Master's Rival (first time).-Pantomime.

Dramatis Persona.-Sir Colley Cowmeadows, Mr. BROWNE; Mr. Aldgate, Mr. W. BENNET; Captain Middleton, Mr. J. VINING; Peter Shack, Mr. JONES; Paul Shack, Mr. LISTON; Mrs. Aldgate, Mrs. JONES; Amelia, Miss PINCOTT; Patty, Mrs. ORGER.

Mr. Aldgate, a retired merchant living at Boulogne, is anxiously awaiting the arrival of young Mr. Cowmeadows, it having been agreed between his father (Sir Colley Cowmeadows) and the merchant to marry him to his daughter Amelia. However, young Cowmeadows is already married to an opera-dancer, and is in durance vile for her debts. This we learn from Paul Shack, his quondam servant, who meets by accident with his brother Peter, a most arrant knave; and after informing Peter of his having robbed his master of his portmanteau, Peter proposes that he should personate young Cowmeadows, and marry Miss Aldgate. This Paul agrees to, provided Peter consents to share the young lady's fortune. He then equips Peter in a suit of his master's stolen clothes; and thus the scheme is going on successfully, when Peter's master, Captain Middleton, a favoured lover of Amelia's, calls at the house, and is confronted by his own servant in disguise. Peter, however, persuades his master that he is thus dressed up to serve his interests. Scarcely has he got over this interruption, when Sir Colley himself is announced; but