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DUBLIN THEATRE ROYAL.-Bellini's opera of "Il Puritani," has been played here with great success, Miss Harland sustaining the character of Elvira admirably. A local paper thus speaks of the performance: "Throughout the entire piece she was loudly applauded; and in the duet, answering to "Vieni fra queste" in the original, which she sang with Mr. Allen, her clear, full-toned voice blended in the sweetest harmony with that of her accomplished instructor, Mr. Allen. The audience seemed spell-bound and at the conclusion so rapturous was the encore, that we had the pleasure of hearing it repeated. Mr. Allen, as Lord Arthur Talbot, was all that we expected from his well-known talents; his evident anxiety for his fair pupil enhancing the interest we feel in him. His singing throughout was pleasing and effective-his action forcible and impassioned. Mr. Peroy supported the part of Sir Richard Forth. He has a fine voice, a clear and distinct pronunciation, and, no doubt, when more accustomed to the stage, will become a great favourite; but at present he seems to want animation and energy,"

HULL. QUEEN'S THEATRE. [Lessee, Mr. Egerton] Mr. and Mrs. G. V. Brooke have been well received here, drawing crowded houses. Miss Dickenson formerly of the Lyceum, is engaged, and Messrs. Cony and Blanchard are to appear for twelve nights.

IPSWICH THEATRE ROYAL. [Lessee, Mr. C. Poole.]
Closes this week after a short but successful season.
Amongst the latest entertainments have been "The
Rivals," "Speed the Plough," "The Sleeping
Draught,"
""How to die for Love," and "My Wife's
Second Floor." Miss A. Lonsdale is a great favourite

here.

LIVERPOOL. LIVER THEATRE. [Lessee, Mr. H. Coleman.]-Miss Mary Glover is still " starring" here, and is nightly drawing overflowing houses, this week she appears in an abreviation of the "Belle's Stratagem," entitled "Love likes Disguises,' "Catching an Heiress," "Black Domino," and other favourite pieces. Miss Fielding, and Mr. H. Beverley (who have already become great favourites here) also appear nightly, in a variety of entertaining pieces in which they are well supported by Messrs. Fitzroy, Norman, Young, Webb, Chute, Appleby, Mrs. Newton, Miss Harcourt, &c.

day) under new management. Messrs. E. Edwards, ADELPHI THEATRE, Re-opens this evening, (TuesJohn Chester, Egan, Mrs. H. Campbell, and Miss Eliza Farrall are the principal artistes. They appear in "Douglas." "Hole in the Wall," "Wild Woman of the Heath," &c. We wish them every success.

ROYAL AMPHITHEATRE, Lessee, Mr. W. R

DUBLIN. That very popular and clever Irish comedian, Mr. D. Leonard, has been very successful with his new play which was brought out at the Theatre Royal on Monday the 3rd inst. It is entitled "The Foster Brothers," and the style in which he has adapted it for the stage at once proves him an eminent author and actor. The cast was as follows: -General Graham, Mr. Roberts; Phelim O'Carolan, Mr. D. Leonard; Charles O'Moore, Mr. Raymond; Mrs. Carolan. Mrs. T. S. Atkins; Norah, Miss Helen Lane. Some of the characters are capital, and Copeland.]-Jullien's concert last night went off with the piece, which has been played every night during great eclat, before one of the most crowded and fashionable audiences we ever witnessed in this the author's engagement, will, no doubt, lead to a house. Mr. Sims Reeves met with a most enthusiasrenewal of Mr. Leonard's stay amongst us. ". Our National Defences" is quite a favourite here. On tic reception, and sang beautifully as also did Miss Friday evening last we had another Garrison Amateur of Koenig, Richardson, and the other members of this Miran and Mr. Henry Whitworth. The performances performance at the Queen's Theatre, but, we regret to truly unrivalled band were received with the approba say, there were many vacant seats visible. It was a tion they so well merited. The dramatic season mystery to us to observe so poor a house considering commences on Monday week. Miss Cushman is enthe entertainments were for the benefit of those pro-gaged and will appear in one of her favourite chafessional persons who have assisted in the recent performances. "Used Up," and the farce of MANCHESTER THEATRE ROYAL. (Lessee Mr. J. "Young England" were performed with much spirit, Knowles.)-Mr. Barry Sullivan in playing the charac and each artiste did his best. EDINBURGH THEATRE ROYAL. [Lessee, Mr. Mur-that it is the most artistic, and correct representation ter of Hamlet seems to have elicited but one opinion, ray.]-The Keans have carried all before them here; the Caledonian Mercury in speaking of them, has the following:-The new play of the Wife's Secret" was repeated, for the fourth time, on Saturday evening, before a highly-fashionable and crowded audience. Throughout the play was followed with the most eager interest by the delighted audience, and the splendid efforts of Mr. and Mrs. Charles Kean as Sir Walter

racters.

46

that we have had. One of our leading critics says:-'A careful examination of Mr. Barry Sullivan's Hamlet upon its repetition, confirms the highly favourable opinion, which its first performance elicited from

us.

There is no

Charles Young to the present time, but none of them We have seen all the leading Hamlets from have to our judgment given so faithful a mental and Lady Amyott, at the most interesting points of portraiture of him as Mr. Sullivan. the story, literally thrilled through the house. The will create as great a sensation in London, as Mr. doubt but that some day or other, Mr. B. Sullivan play has been acted every evening during the engage-G. V. Brooke has done. The Misses Lebatt are still ment of these distinguished performers, with the exception of Thursday, when Kean once more appeared here, and with "The Invisible Prince" (which will in his masterpiece of " Hamlet," Mrs. Kean giving an doubtless run till Easter) make up the performances. exquisite portraiture of the fair Ophelia. In those NEWCASTLE THEATRE ROYAL.-Business here ha painful scenes when Ophelia desports amidst her in-been very bad. On Monday last Mr. Marshall took sane visions, the acting of Mrs. Kean was touching in his benefit, presenting "Pizarro," and "Valentine and the extreme. We have never seen these wild and Orson," plaintive emanations of the disordered fancy rendered with equal truth and dramatic skill. Mr. Kean has been long celebrated for his representation of Hamlet. At his first entrance there is something so intellectual and expressive in his mien, so full of grace, dignity, and withall, so overshadowed by that deep-seated woe which has overcome the Prince of Denmark, that one imagines one of the striking figures of Vandyke has stepped forth from the canvass,

PERTH THEATRE ROYAL.This establishment opens for the assize week only on Monday, under the direction of Mr. J. W. Anson, whom we understand is lessee of the Theatre Royal Dundee, and from the great influx of visitors, we may prophesy good business. Mr. Anson and his lady, (whose Rosalind &c. is still fresh in our memory) come not as strangers among us, but old favourites and their re-appearance is hailed with much pleasure.

PRESTON THEATRE ROYAL. [Lessee, Mr. R. Cockrill.]-Miss Cushman has been playing her round of characters here, with great success, ably supported by Messrs. Falconer, Staunton, Gunning, Ellerton, and Mrs. Walton. The house has closed till Easter Monday, when it will re-open for the summer season.

PORTSMOUTH THEATRE ROYAL. [Lessees, Messrs. Hogg.]-Business has been very good. Mr. Woolf took his benefit on Thursday, when the house was crowded to excess.

STAMFORD THEATRE ROYAL. [Lessee, Mr. Caple.] One of the best companies in the country, is playing here now to good houses. The legitimate is the order of the day, and the pieces have been effectively put upon the stage. "Othello" was remarkably well sustained throughout, particularly the character of Iago, by Mr. Robins, who exhibited talent of a very bigh description.

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Van Amburgh will be the great attraction at Astley's on Easter Monday. A large and splendid collection of truined animals will be exhibited on the occasion. Mr. Bernard has written the spectacle.

The Theatre National (formerly the Grand Opera) so well known throughout the whole of Europe is to be disposed of by public lottery.

On dit that Mr. Strutt has seceded from the proprietorship of the Lyceum and that Mr. C. Mathews has been joined by another gentleman who has agreed to pay Mr. Strutt the inoney he has advanced.

A party of serenaders calling themselves the gentlemen are engaged for the ensuing season at the European Melodists, consisting of a lady and six Surrey Gardens. The company is composed of Swedes, Germans and Hungarians, and a portion of their performances consists of a medley of twenty different languages, the real dialect and melodies of the various countries. They are finished musicians, and have remarkably fine voices.

Jenny Lind has left Stockholm for London.

favourite summer resort. The theatre has been re

pleasure-ground.

CONTINENTAL THEATRICALS, AND FOREIGN DRAMATIC INTELLIGENCE. Theatrical matters in Paris are in a most critical position. Most of the houses have changed their names for those more in accordance with the spirit Extensive preparations are being made at Cremorne of the times. The Grand Opera has been re-christ. Gardens in adding new objects of attraction to this ened the Theatre de la Nation, and La Français decorated, and a new diorama of Swiss scenery is has become the Theatre de la Republique. The Italien has retained its name having obliterated the pre-river side and the gardens has been converted into a nearly completed. The space of ground between the fix Royal. The Opera Comique has added Theatre National and the Palais Royal has resumed its bye-gone appellation, Theatre Montansier. Provisional governments have been formed to regulate the Opera National, and the Odeon. Opera and ballet are the aitraction at the Theatre de la Nation, Charlotte Grisi, Dumilatre, Fleury, and M. M. Mazialire and Petipa having appeared in the latter. Rachel has been play ing at La Republique and most of the theatres have produced pieces founded on the late events, but they have failed in attracting. The only house which appears to have baen unaffected by the political occurrences is the Varietes.

AMERICAN THEATRICALS.

We have received our nsual correspondent's letter from New York, dated March 25th. The whole shall be published next week; but in the mean time we present the following to our readers. The weather has been fine, and consequently, operated well on theatricals. Mr. Both had left the Park; he was succeeded by Madlle. Blangy. It was the intention of the proprietor to re-open the Italian Opera house, Aster Place on the 27th. Mr. Anderson was playing at the Broadway theatre, The Bowery is doing well; a new play is the attraction. At the Olympic, a piece called the "Glance at New York," was drawing crowded houses, it is an amusing production.

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Mrs. Fanny Kemble Butler resumes her course of
Willis's Rooms in the
Shaksperian Readings at
Easter week. They have hitherto been attended by

fashionable and crowded audiencas.

On Monday last, after the performance of "Haidee” Anthem, upon which the Marsellaise was loudly called at the Strand, the orchestra performed the National

for by the audience.

Haymarket and the Olympic, declares in a letter which
Mr. Brooke refering to his double engagement at the
he has published that he was not aware of the import
of the clause he signed with Mr. Webster transforming
his services entirely to the former, and that he entered
into a new engagement at the Olympic, because Mr.
Webster had stated that he should strictly fulfil his
"actual" engagement with Mr. Spicer, he would con-
sider his prospective one at the Haymarket null and
void.

Surrey, has become its Lessee. This gentlemans' long
Mr. Kerchner for many years the box-keeper at the
perience in theatrical matters lead us to hope tat
favour.
this once popular establishment may again enjoy public

Thursday, on the occasion of Mr. Marstons bene-
It is reported that Sadlers Wells which closed on
fit will re-open on Easter Monday with a first rate
operatic company.

The committee for conducting the proceedings of the benefit given at Her Majesty's Theatre for the relief of the destitute poor of the metropolis have given the handsome donation of fifty pounds in aid of the Refuge and Soup Kitchen in Leicester Square.

Jullien, accompanied by Miss Miram, Mr. Sims Reeves and Mr. Whitworth has been giving a concert at the Town Hall Cambridge.

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ORIGINAL ARTICLES AND Lucubrations on Acting and Actors Memoranda Dramatica

CORRESPONDENCE-Lenten

..... 130 ........................ 131 132

PROVINCIAL THEATRICALS-Bristol, Belfast, Carlisle, Dundee,
Coventry, Edinburgh, Glasgow, Liverpool, Manchester, Stafford,
Stourbridge
Continental Theatres

G. V. Brooke. Webster, and Spicer ACTING DRAMA-Olympic, Marylebone, Surrey, Strand, Bri-f tannia Saloon, Standard, Grecian Saloon ...

American Correspondence, Gossip, &c.

.......134. 135

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MEMOIR OF MISS POOLE.

under

Miss Poole is the youngest daughter of the late Mr. John Lidbury Poole, Architect; whose superintendance the Royal Mint was erected. She was born April 5th, 1820, in Adam Street, Manchester Square. Having lost her maternal parent when only six years of age, her eldest sister discovering her talent for music, took great pleasure in seeing her before the public.

NOTICES TO CORRESPONDENTS.

4 D

ALL COMMUNICATIONS FOR THE EDITOR MUST BE
DRESSED TO 6, RED LION COURT, FLEET STREET.
OBLIGE US BY FOR-
CORRESPONDENTS WILL GREATLY
THE
WARDINO THEIR COMMUNICATIONS AS EARLY IN
WEEK AS POSSIBLE.

M. E.-Endeavour to procure an engagement in a provincial company.
J. D. (Birmingham)-You can procure all the back numbers by order-
ing them of your bookseller. Miss Cushman has been lately playing
at Glasgow and Leeds, she is shortly to appear at York.

J. B. B. (Rochdale)-Apply to your bookseller, who can obtain the
works through his London agent.
AN ADMIRER OF BROOKE is answered in the present number. Mr.
Archer of the Olympic, has played repeatedly to the Kean and Mac-
ready.

ONE OF THE PROFESSION is a grumbler without cause, we do not
recognise him as a correspondent who has written from "time to
time, without receiving any answer."

On the 26th December, 1827, she was first introduced to the theatrical world, at the Olympic theatre, then under the management of Mr. Scott, where she sang the then popular song of "Oysters JACQUES (Ipswich)-Your communication reached us too late for inser

Sir," for more than sixty successive nights.
On the 13th July, 1829, she was bound, and
served an apprenticeship of seven years, to the
late Mr. J. T. Harris; this gentleman discovering
the precocious talent of his pupil, took a lively
interest in its cultivation. From the severe dis-
cipline Miss Poole underwent while with Mr.
Harris, whose untiring industry and perseverance,
imparted to his pupil a determination to master
every difficulty-as was evidenced in learning
the drum, which Miss Poole commenced at
eight years of age. Such was the enthusiasm of
master and pupil to overcome the difficulty that
she practised nine hours daily, for upwards of
six weeks, when her execution upon that instru-
ment was pronounced perfect by the most com-
petent judges. On the 26th December, 1829,
made her first appearance at Drury Lane, and
subsequently at Covent Garden. Having com-
pleted the seven years of her apprenticeship, it
was renewed for five years more, but Mr. Harris
died at the end of the second year; she then
became the pupil of the late Mr. Guibelei under
whose guidance she made rapid progress in her
musical studies. In 1839 she went to America
with an operatic company, under the manage
ment of the late Mr. Price; the treatment she
received here, was most gratifying, she went as
a second lady, but in a very short time occupied
a first position, established a high reputation,
and became an immense favourite, and deeply
regretted leaving the land where English talent
is properly appreciated, and meets with its just
reward-a pocket well lined with gold. For the
position she holds in her profession as an actress,
she is indebted to the valuable lessons imparted
to her by Mrs. Charles Jones, who has always
evinced the most lively interest in her success.
She is now ardently prosecuting her musical
studies with Mr. Frank Romer, and her improve-
ment latterly is owing to the able instructions
afforded by that gentleman. July 19th, 1845,
Miss Poole was married to Mr. Bacon, Surgeon,
of the Hampstead Road, Has been engaged at
Drury Lane and Covent Garden, for nearly
eighteen years, was not there last season through
a mistake, M. Jullien offered her an engagement,
but was too late, Mr. Bunn having previously
secured her for the Surrey theatre, where she for
the first time appeared before a London audience
as Am nan Somnambula, with great success.

HORATIO and 8. O.-Apply to Mr. Massey, School of Dramatic Elocution (late Clarence Theatre), Liverpool Street, King's Cross.

tion. Not later than Tuesday for the future.

R. E.-Mr. Charles Kemble was born in 1774.

A CONSTANT READER is informed that we have no time to search for benefit bills.

C. G. was answered in our last.

MEPHISTOPHOLES and C. J. will shortly be attended to.

K. H. G.-Inquire at the stage-door of the Victoria.
R. B. R.-Upon any other subject we shall be glad to hear from our

correspondent-that on which he has written to us, is worn out.

THEATRICAL TIMES.
SATURDAY, APRIL 22nd, 1848.

LENTEN LUCUBRATIONS ON ACTING AND

ACTORS.

If gestures are to be taken as the exterior and visible signs, by which the interior modifications of the mind are made known, it follows as a matter of course, that we may consider them under a double point of view; first, as visible changes of themselves, and again, as the means indicative of the operations of the soul. This two fold consideration gives occasion to a double question; what is beautiful? and what is natural or true? which Art will re-unite into the single proposition;-what is at the same time the most beautiful and the most true?

In running through all the particular rules which have been laid down in the matter of action, we shall find to the great disadvantage of the histrionic art, that individuals have cultivated the first, much more than the second, thus showing that the conventional regime, concerning theatrical declamation, has no other object than dignity or beauty. Hence it is we meet with a peculiar style of eloquence in the acting of some of our performers, and a dulness, and absence of vitality in others, these parties forgetting that though art is a great assistant, nature is the very soul of the actor, and that truth ought to be the guide of every artiste, beauty being but subordinate to this first grand principle. Most actors are deficient in one great point, the study of their own characters in connection with others. That an actor ought certainly to become acquainted with the entire merits of the piece in which he performs there can be no question, as it is by this double study that he can alone acquire a perfect tone and knowledge of his own particular part. Without this attentive view of the tout ensemble-without an exact appreciation of the proportion which a particular character bears in the aggregate of a drama,-without this voluntary information, the effect of the play, if it be not entirely destroyed, is at least greatly impari

ed and weakened. And yet how few give this consideration. Horatio perceiving the ghost of Hamlet's father, at the same time that it is presented to the eyes of the Prince, might by vehemence of attitude and action, not merely divide, but solely attract the attention of the audience to himself, compelling Hamlet to a bare imitation, or to an exaggerated and unnatural expression of surprise. Many difficulties it is true oppose themselves to the attainment of perfection in this branch of the art-such for instance as the rage for novelties amongst managers, and the false taste of the profession generally, who eager to dazzle, frequently prefer the applause of the groundlings, to the judicious silence of the critic; but the true actor will avoid these extremes. In connection with this appreciation of the tout ensemble of a piece, it is equally necessary that the actor in the study of the scenes should never lose sight of the general idea of his part, for by a comparison of its proportions, be will learn to restrain or give loose to his feelings by science and rule. One passage may contain much scope for warmth and passion, while in a scene further advanced, there may be another still more highly coloured; it is evident therefore, that if he overstrain his energies in the first he must be languid and ineffective in the last. Take the case of an actor whose part it is to be an avenger of wrongs; if he declaim the imprecation with too much violence, there remains no distinguishing mark of passion, when, encountering the object of his vengeance, he has to charge him with his injuries in person. Still this fear of exhausting the powers, ought not to be carried to too great an extent, for it is apt not alone to spoil a particular part, but to weaken an entire drama; for if an actor husband his resources through the first part to give effect to the last, the loss to the audience is inadequate to the gain. It is however a very common, and we believe a very favourite method of procedure with per formers, some of whom jump from one extreme to the other, without any apparent cause or motive, as the thunder, which we have heard in feeble murmurs at a distance, will sometimes when we least expect it, roll over our heads in all its noise and fury. Doubtless these strokes are louder, but instead of making an impression, they only serve to stun us; while preparatory ones, following each other in just gradations operate upon the mind naturally and effectively. It is a knowledge of the true balance of power that constitutes the finished artiste. We once had an actor, who setting aside his well-known personal vanity, and the almost idolatrous worship with which he was incensed, was unquestionably the nearest approximation to perfection, from this very simple reason that he took nature for his guide, making art subservient to her. How many in the present day, ranking high in the profession, content themselves with glorying in his name without attempting to imitate his excellencies! David Garrick played tragic and comic casts alternately and admirably. Though nature differs much in different men, and what is natural in one individual becomes ridiculous in another, yet if we are to attach the usual credence

that is given to impartial biography, it was the eye of observance that gave to Garrick the exalted prominency which he occupied. He disdained the pompous strut of his predecessors-all the precision, formality, and rule (though he was greatly hedged in by traditionalism) which marked the stage up to the period of his appearance, he set at nought; and whether as the representative of Thalia or Melpomene, he was equally omnipotent. Without ever losing sight of truth or nature, he blended them most happily together. As an exemplifier of the laughter-loving muse in illustrating the manners of a gentleman in private life, he never endeavoured to tread with the mincing exactitude of a dancing master, not to lay stress on syllables, till he gave to trifles the dubious importance of oracles, and in assuming the hero of tragedy, he was perhaps the most perfect reflection ever presented. His verisimilitude in every respect, Edmund Kean, dawned alas, to set too soon! We have neither Garricks nor Keans, or in other words, we are without actors who study nature to profit by her instructions. One other remark, and we shall bring these thoughts to a conclusion. The observation has frequently been made, that some pieces produce a good effect, because their mediocrity is in the most perfect harmony with that of the actors, and that many beautiful passages are lost in others, because they want a Kean to feel and express them. Would it not be the height of injustice to prefer the mediocre, to the great dramatist, because the representations of the characters of the latter were unable to do justice to his writings? As well might we despise the sublime compositions of a Mozart, because an ignorant musician had shocked our ears by his miserable attempts at playing them.

MEMORANDA DRAMATICA. OBSERVATIONS ON DRAMAS AND DRAMATISTS COLLECTED FROM VARIOUS

AUTHORS.

Continued from our last.

The first attempt that was made to represent a drama, consisting wholly of music, was at Florence about the end of the sixteenth century. The drama was Dafne, written by Rinnecini, set to music by Caccini and Peri, and performed at the house of Signor Corri, a great patron of the arts in the year 1597; and from this time we may date the invention of Recitative. The first opera that was publicly exhibited was the Eurydice, also at Florence, in 1609, written and set by the three above-mentioned persons. In this century the opera appears to have made no great progress -at least none written about that time have retained any great celebrity. The most magnificent representation during the seventeenth century, was that of the opera of Berenice, set by Treschi, and performed at Padua in the year 1685, with a splendour of decoration which excels even the gaudy pageantry of our modern theatres. One chorus alone consisted of one hundred virgins one hundred soldiers, one han

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