MEMOIR OF MISS M. ATKINS. We this week present our readers with a sketch of the dramatic career of the lady whose portrait graced the 129th No. of our work, her novitiate, become a decided public favourite. In comedy, her vivacity is irresistible, in the graver scenes of the persecuted heroine, she awa、 kens all the warmer sympathies of her auditorsMiss Atkins possesess the quality of giving effect to the author's witticisms, without being vulgar; and on the other hand, she declaims in the language of passion without outraging nature. So chaste and elegant an actress, has not appeared on these boards.' A chance association with a dramatic acquaint ance, first inspired Miss Atkins with the desire of Thespian fame, and unknown to all her friends she essayed the character of Lady Anne, in Richard the Third,' at the Minor, in Catherine Street. Such was her success, that a gentleman On her return from the provinces, she opened of the Garrick company, who happened to be pre- at the Strand theatre, then under the management sent. sought an introduction, and requested her to of Mr Fox Cooper, here she remained about four favour him, by playing at the Garrick for his months, playing the principal characters. She approaching benefit, to this she consented. She then proceeded to Brighton, according to an distributed the tickets amongst her friends, with- arrangement entered into with the manager, Mr out mentioning the step she had taken, but made Charles Poole, at the conclusion of the Ipswich an excuse for not accompanying them to the thea-season. At Brighton she soon became an es◄ tre. Judge the surprise, when her assembled pecial favourite. The local drama of Phoebe relatives, in the heroine of the piece, recognised Hessel,' was first produced here, and had a run the well-known features, the life of their domes-unprecedented in the provinces; its success attic circle. This, as a matter of course, led to tributed by the author, Mr J. Johnson (of the similar requests from other actors, in connection Pavilion) principally to the truthful delineation with their forth.co.ning benefits; to these she at-pourtrayed by Miss Atkins, in sustaining the part tended with the same favourable results. But a of the heroine: at the termination of the Brigh. short period elapsed ere she was solicited by the ton season, she again appeared on the Ipswich Shaksperian's, to assist them in a series of per boards, and again received tokens of esteem and formances at the St. James's Theatre. She con-admiration from all parties. On leaving Ipswich sented, and appeared on several occasions with she indulged for some little time in the rest and gratification to the respectable and intellectual happiness of her domestic hearth, with the oc. audience. Even now she thought not of embra-casional appearance at one or other of the me cing the stage as a profession, until compelled to do so, by an unforeseen and overwhelming misfortune. Introduced by a friend to Mr Brading, she was immediately engaged, and continued on the establishment for twelve months. Warwick, and Stratford-on-Avon next witnessed her efforts. On returning, she was engaged at the Garrick, here she continued but three months, being com. pelled to relinquish the profession for a time, in consequence of her lungs being attacked with a severity that totally deprived her of speech. On her recovery she joined Mr Tamworth, of Richmond, Surrey, at the conclusion of the season, the late Mr John Haines sent for, and engaged her for the Lyceum, under the management of Messrs. Van Amburg and Carter, where she continued until the season closed. A provincial trip WARDING succeeded, and at Ipswich she at once established a reputation; in proof, we quote the following paragraph from the Ipswich Journal,' of the 6th of July, 1847, one week from her first appearance tropolitan theatres for benefits, until the 4th September last, when she opened at the Pavilion, where she has continued to rise in the estimation of the public. It is universally acknowledged that Miss Marian Atkins is in possession of a versatility of talent which renders her an acquisition to any theatre. a fine commanding figure, a pleasing countenance Avoice clear, distinct, and effective, and an amiaality of disposition which wins the respect and teem of all who know her. NOTICES TO CO RRESPONDENг3. ALL COMMUNICATIONS FOR THE EDITOR MITST BE AD G JW-We intend doing so shortly: we should recommend Liverpool C JONES-We thank you for your kind wishes ard to your first question, in that town: alluding to Miss Atkin's Juliana, PALMER-Unless you be physically as well as mentally adapted for the stage, you had best give up your ideas; and to your question about tuition, at either of the places we mentioned, you can obtain a general routine of stage-business making up' &c; but we would decidedly they remark, This lady is a great acquisition to HIGH AND LOW ART-AND DRAMATIC Ere we commence the subject heading this article, we must mention a typographical error which crept inadvertently into our last No, wherein the concluding paragraph on J. W. and Macready is substituted for the commencement of our remarks on the Drama, &c, The Dutch school of literature in England, at the head of which we have writers such as Thack eray, Dickens, and a few more really clever men, has created a host of imitators, among whom we may mention A. Smith, Reach, &c. On the other hand, the supporters of high art, though few in numbers are strong in purpose; and the drama, being their favourite vehicle for the dissemination of their sentiments, they write poetic plays, some acted, some unacted-or damned. With dramatic snobs who ape the sentiments of their betters, we have nothing to do at this portion of our essay. The Dutch school, when really excellent, makes little pretension, but copies literally the broad features, the merry sayings, the follies, and the vices of humanity. When however, this degenerates into burlesque, it is utterly beneath rational criticism. Hogarth and Wilkie are capital in their way, and far be it from us to carp at the fidelity of low art, or to say that natural comedy and genial humour, even We like without adjuncts, are not to be admired. as well as any one a bit of quiet humour; we are fond of simple pathos, and have a great respect for common sense; but still, the genius that creates a great epic, a sublime tragedy, and a wonderful historical picture is the loftier. The high art critics and poets have been frequently injudicious to say the least, in affecting contempt for writers, whose talent is for the Real rather than Ideal; for when we consider that in the latter category there have been such authors as Fielding, Burns, Goldsmith, and others hardly inferior, it is not to be questioned that genius can manifest itself in one form as well as in another. The idealists, who are exclusively such, never become popular dramatists; but the proper amount of idealism, of poetry, sense, humour, and philosophy, are all requisite to create a play, which shall stand the test of time, and survive on the stage and in the closet, when the flimsy productions of Bourcicault 'et ed genus omne' are forgotten. High art most assuredly is not what some of our Germanised writers imagine it to be. It is for the most part, clear, distinct, and graphic, and deals little with shadowy outline, filling up with a bold hand, the forms created by genius. Need we adduce specimens of the highest art in support of our postulate, when we continually see, the terrific Othello and sublime Macbeth? But although the matchless works of the greatest dramatist of the world excite our wonder and admiration, it is not necessary to conceal from our selves the fact, that they contain many things which in the present age, are hardly to be tolerated; and the farther we advance in refinement, the more glaring will appear those defects, which are spots on the sun's disc. A very clever article in the Family Herald' of last week, in which we easily recognise the pen of one of our deepest and most original thinkers, on the subject of the drama, affords some appropriate remarks on this point; and we cannot help thinking that it was suggested by Theatrical some of our own observations in the " Times.' The friends of the drama,' says this writer, are all aware that the theatre is not, and never has been, what it ought to be, and the regeneration of the drama has been a favourite idea with many literary gentlemen for years past. But we have never seen the idea presented to the public in a practical or intelligible form. The difficulties to be surmounted are too great for ordinary human power. If you make the drama the true representation of human life, it must be imperfect and unsatisfactory to the moral sense, as human life itself; and if you make it the re presentation of some beau ideal life of your own creation, the danger is that you depart from the proper mission of the drama, give it a sectarian character, and set up an image for idolatry to worship.' And subsequently, The theatre is what the drama bas made it. The theatre is the body of which the drama is the spirit.' Once more, Shakspere did not revive the ancient drama. He produced a new by the force of original genius. That new was fitted for the times and for this country. But it was not fitted for universality, for it was not a moral but a natural reformation.' There are other points in this article to which we may hereafter refer, but the foregoing extracts will serve our present purpose. We shall not amplify on the subject of the mo rality of the drama. Art of the highest kind blends with the spiritual, and genius of the divi nest order is spiritual. But as the moral Ideal of the masses becomes higher and higher, that which was not impure or sensual once, is intole rable to the finer sense developed in humanity. What then shall we say to those poor, pitiful, hacks of the stage, who write the merest twaddle for the passing hour, and sneer at the notion that art and poetry have a mission to fulfil, and who uphold the doctrine that amusement is the sole object of playgoers, and therefore to amuse should Is there he the only object of dramatists ? nothing in the human heart to respond to nature, truthfulness, and beauty? Does a generous and philanthropic sentiment well delivered on the ** Acting f'Imitatio vitæ, speculum consuetudinis, imago ver COVENT GARDEN. but of this we cannot speak, as in common with many we left the house at the conclusion of the 'scena.' SADLER'S WELLS. stage, ever fail in drawing down applause? And when the risible faculties have been most titillated by the absurdity of Buckstone in one of Bourcicault's five act farces have we experienced On Friday, the 17th inst., Mr. Phelps produced at the same amount of pleasurable sensation as we have felt when sitting through a noble play in Nothing;' one, as every one knows, of the most dethis theatre, the comedy of Much Ado About which Macready. Mrs Butler, or the best of our lightful productions of Shakespere. The two princtragic performers have touched those springs pal characters, which might name the piece, as indeed within us, that lie too deep for tears? No, the they did, in its author's lifetime. Benedick and good, the grand, the sublime, awaken our imagi- Beatrice, were performed by Mr. Marston and Miss nation and teach us that we are not beings of mere | Cooper. Mr. Dickinson being the Claudio, Miss outside existence: we feel in the realms of pure Huddart, Hero; Mr. Bennett, as Leonato; Don art that life is not a mere puppet-show; that we Pedro, Mr. Hoskins; and last, but far from least, are not puppets moved by wires and the spirit of Messrs, Younge and Scharf, Dogberry, and Verges. destiny; but rather that the magnificent drama of The cast, it will be seen, was a strong one, and on the the universe is the sphere for the soul of man, whole, great praise is due to all the performers. Miss and our passions and aspirations were imparted and indeed, we know of no lady in the profession who Cooper rendered her part faithfully and energetically, for a worthier purpose than jest and folly. would have better filled it. Not so with Miss Huddart, who was to our minds, a very unpleasant Hero. Her dress was also more modern than that of Beatrice. Whilst on the subject of dress, we may at once notice a slight incongruity in Mr. Marston; why does he wear large riding boots in a ball room? This is not quite the thing, and such carelessness ought not to be permitted; we hope that the gentleman will rectify it in the next representation. In all else, we have little or no fault to find with him, Mr. Marston is a very careful actor, and had studied his part to a very good purpose; Benedict in his hands lost none of his piquancy, liveliness or wit; and when he and Miss Cooper were on the stage, they kept the house in continual laughter. In the beginning of the third act, the soliloquy on marriage, beginning I de much wonder, &c.,' was delivered with point and appreciation, and when he emerges from the arbour, after having overheard the conversation between Don Pedro, Leonato, and Claudio. his puzzled look and bye-play, were really good, the 'love me and why it must be requited,' was also well given. When Beatrice wishes him to challenge Claudio, his unwillingness to quarrel with his friend, struggling with his wish to oblige his mistress, was admirably depicted. Another remark and we have done-it is this, we hope our readers will notice, if they witness this play, the humourous and rather sheepish look, which Benedict throws into his countenance, when he wishes to speak with the Friar-the full consciousness of his bachelor resolutions, and his vows against marriage, were depicted in that one look. Mr. Bennett we cannot praise-some few lines were well spoken but, the majority was rant and roar. Mr. Dickinson quite confirmed us in our opinion of him, he will be a good actor in time-he is an elegant one now. The little, and somewhat unpleasant part of Claudio, was well played; and what is more, there is no very pro< minent fault in this young actor-we have every hope of him. Messrs. Hoskins and Graham were careful and efficient. Messrs. Younge and Scharf, very gool, indeed, the former seemed to render his part some ten years too young for us. A man, who like Dogberry, has had losses,' and has 'two gowns,' and is moreover ' a householder,' and 'a magistrate,' ought to have arrived at 60 years at least. Borachio and Conrade, Messrs. Harrington and Knight, were also well. Mr. Gladstone as Balthazar, was encored in the song, 'Sigh no more ladies,' the only fault of which is, that it is set to too solemn a tune for a jovial, inspiriting song, as it is evidently meant to be. Ursula and Margaret, were inefficient, and from the stature of the ladies, somewhat ridiculous. We have Mr. Bunn has been reaping the fruits of a reduction of his prices, by a large harvest of large audienceshis theatre inst ́ad of being thinly attended, being packed closely. How much better this, than a beggarly account of empty boxes.' He has also engaged Miss Bassano the young lady who made some time ago, a great noise as Anna Boleyna, at the Prin cess's theatre. He has also produced the opera of the Lady of the Lake' (La Donna de Lago,) M Harrison being Roderick Dhu; Mr. Travers, Fitzjames Miss Bassano, Malcolm Græme, and Mrs. Donald King as Ellen. The opera needs no critique at our hands it is so well known and so very popular, that such a course would be perfectly preposterous, we have only to speak of the mise-en-scene,' and of the respective performers. Let us find fault first.-Mrs Donald King was in our opinion, not quite equal to the part of Ellen; her voice is, however, sweet, and would no doubt be heard to more advantage in a smaller house. Miss Bassano as Malcolm Græme pleased us much better than hitherto, it was a part more suited to her than that Titan-like character of Norma. Her voice is a melodious one, and her contralto notes good-her acting, a rare thing in an ope. ratic singer, is very respectable; she has one faulttoo much action. She should recollect that Demosthenes did not advise action, action, action,' to a singer-it might be all very well in elocution certainly; when this exuberance of feeling is, as a painter would say 'toned' down a little, Miss Bassano will bave improved. A duett between Mrs Donald King and herself was encored. Mr Travers was very merito. rious, and Mr Harrison was as usual, good in his walk, his action, and his ballad airs. The debutante was called before the curtain, and received considerable applause, and she was on the whole very successful. After the Lady of the Lake,' a scene from La Sonnambula' was acted, Mrs Donald King being the Amina, the scene was only remarkable on account of Mr Reeves throwing the audience into a 'furore' of enthusiasm by his execution of the beautiful air All is lost now.' The whole concluded with the beautiful ballet of the Peri,' in which Mdlle. Plunkett appeared now to notice a very unwise, and ungentlemanly attempt, if we rightly judge it, to burke' Mr. Dick inson. Mr. Marston was undoubtedly called first before the curtain, he led on Miss Cooper; a very great shout was then raised for Dickinson, when lo, Bennett makes his appearance, and afterwards when the shout continued, Mr. Hoskins led on Miss Huddart, much to the indignation of many. Seeing, however, that the audience would not be quiet until Mr. Dickinson made his appearance, he was at last allowed to come on. We will make no comment upon this dis graceful proceeding. A play, one of the 'unacted,' by Mr. Robert Browning. (the ruthor of some pieces, under the euphonius and silly appellation of Bells and Pomegranates), is about to be produced at this theatre, it is in three acts, and bears the title of The Blot in the Scutcheon.' LYCEUM.' Madame Vestris made her first appearance this season here. in Shakspere's 'Merry Wives' (on Monday), and was received with great enthusiasm, by, as the papers say, 'a fashionable and crowded audience.' The comedy was put on the stage, in the best possible style: the dresses, allowing for a slight anachronism in costume, namely, of being tempore James 1st, instead of Henry the 4th, were appropriate and beautiful. The scenery in parts magnificent, especially Herne's Oak with a distant view of Windsor Castle. The whole company deserve very honourable mention down to the slightest character. Our readers already know the excellencies of Madame, as Mrs. Ford and of Mr. Charles Mathews as Slender, it will therefore suffice to say that the lady looked as young as ever; nor did her acting belie her looks. Slender is too alender a character for her husband: at least, we think so. Mr. Granby as Sir John was very good. His rich unctuous voice, his figure, and his counte nance, suit the fat knight well; he is therefore better than Phelps in the same character, one is nature, the other, art. Mr. Cooper, who made his first appear ance here, delighted us as the jealous Ford, in the part where he is introduced to Sir John as Master Brooke, the acting of both gentlemen met a deserved appreciation from the audience. Let us now speak of Sweet Anne Page, Miss Fitzwilliam. Her singing was excellent, and her action good, but in our opinion, her figure is dreadfully unsuited to the part; she is short and stout, and to make this more apparent, she wore a light satin dress, and light blue boddice. Mr. Binge as Fenton, sang very nice, but the gems of the evening were the Dr. Caius of Selby, and the Sir Hugh Evans of Meadows; nothing in our opinion could exceed the acting of the first; the old French Doctor was rendered to the life, and so it was with the Welsh parson; the duel between these worthies, was prolific of much laughter. Mr. Hall filled the part of mine Host of the Garter, well. Mr. Belling ham was a good Mr. Page, gentlemanly, quiet, and dignified. Of Mrs Quickly, (Miss Macnamara) we cannot say as much, she is too loud and rough, there is none of the proper, fawning, cozening, qualities of the delectable Quickly, the Shaksperian Mrs, Gamp, about her. We should have before mentioned Justice Shallow, Mr. Frank Mathews, whose acting was praiseworthy and careful. Lastly the Nym, Pistol and Bardolph, parts well filled, but we think their action had a sameness, which hardly agreed with the characters of these worthies. The songs and duetts, were well executed and well received. The duett, I know a bank,' encored; and at the conclusion, Mr. Cooper had the honour of leading, in rotation, Madame Vestris and Miss Fitzwilliam before the curtain. The house filled well, the private boxes being everyone occupied. OLYMPIC. Sir 'Cousin Cherry' is the name of a new and successful piece at this theatre, written almost entirely for Mrs Stirling and Mr Leigh Murray. Their measures have been, at least, taken skilfully, but we object to this species of writing, as it destroys the originality of the author, and by requiring no exertion in the actor, also spoils him. The plot is literally nothing. Charles, (afterwards Earl of Mandeville, Mr. Murray) visits incog, one of his tenants, with whose sister, Elinor Primrose, (Miss Julia St. George) he is in love. All the talk of the Primroses is about Cousin Cherry (Mrs. Stirling) who comes in, in her own delightful way, pulling a greyhound with her, and setting all the house at one dash, into good humour. Her acting was delightful; and so was that of Leigh Murray, who looked as usual, the thorough-bred gentleman; well, after a little interruption, and after asking the Widow Cousin Cherry's opinion on the match, and after the said Cousin, chattering, as only woman can, after being suspected of deserting his wife, another widow at a certain farm house who turns out to be his sister-after, we say, all this is cleared up, the lovers are married, although mind you, Cousin Cherry is more than half in love with him, the piece ends. An ingenious pleasing trife, but one which we think will have a long run, from its being so well acted. After this, Luck's All,' and 'The Honeymoon,' finished the evening. Various novelties are in preparation; Redmond Ryan appeared on Thursday as Pat Rooney in The Omnibus;' his acting was excellent. We think that there are almost too many light pieces-we think that no theatre could produce She Stoops to Conquer' better, and a few revivals would certainly do good, not of course, as a rule, but merely to give piquancy and variety to the very excellent made dishes' which compose our general fare. MARLYEBONE. As We attended the performance at this theatre on Monday last, when The Flowers of the Forest,' was the first piece. Although we do not belong to that class of critics who consider the intellectual drama a panacea for all social and other evils, we must protest against the acting of such vapid folly and dull inanity as composes this long and dreary melo-drama. might have been expected, with such entertainments (save the mark!) and raised prices, the theatre was thinly attended. Mrs. Fitzwilliam's naivete as Starlight Bess, is the best feature in the performance. She is always natural and pleasing. Little Miss Saunders was rather clever in Lemuel, though it taxed her physique, but the unnatural character of the gipsy girl Cynthia, did not suit Miss Vining. The tendency to gasp, at the end of every sentence, is the great fault of this ladylike actress. We have never been great admirers of Buckstone, who is almost exclusively adroll,' though not so vulgar as Wright; but his Cheap John was amusing. The other parts were indifferently sustained; Craven being about the worst of the performers. The farce of 'A Rough Diamond,' followed. Mrs. Fitzwilliam was again the gem of the piece in this flimsy bit of extravagance. Buckstone was funny as the rustic, and to be funny, seems his only aim, as we have said. With every good wish for the success of this management, we doubt the policy of a continual succession of stars, in pieces that at the best, can only raise a laugh. A really |