ENp. 32
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18 revisions | Mick at Aug 27, 2020 05:42 PM | |
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p. 3274. as my recollection can go back in green-room reminiscences. We had a Kemble with us about 1806 in the person of Mrs. Whitlock, the sister of Mrs. Siddons, and as Mr. Bernard says in his "Stage Recollections," "Mrs. Whitlock was allied to her (Mrs. Siddons) in genius as well as in blood." But the play-goers of 1832 hardly remembered that splendid tragic actress, whose expression and clarion voice in "Adelgitha" still appears to our vision and tingles in our ears. Yet the Kembles were familiar to all conversant with dramatic history and its exponent, the stage. October 10th, Mr. Kemble made his first appearance as Hamlet -- Horatio, Mr. Rowbotham; Laertes, Mr. Smith; Queen, Mrs. Maywood; First Grave Digger, Mr. Roberts; Ophelia, Mrs. Rowbotham. Fashion appeared in the boxes as fomidable as a Grecian phalanx. It is unneccessary to say the house was crowded. We beg to trespass a brief biography of this eminent gentleman. Mr. C. Kemble was the youngest son of Mr. Roger Kemble, who, as history says, was, in appearance, the perfect ideal of a scriptural patriarch. For many years he was manager of a provincial company of comedians. His nativity dates 25th November, 1775, at Brecknock, in Wales, being also the birth-place of Mrs. Siddons. John Kemble, his brother, placed Charles, when only thirteen years of age, at the college of Douay, in Flanders, where he remained three or four years. He returned to England at the end of this term, and received the appointment of a clerkship in the Post Office. In this situation he soon became restless. The seclusion from the world, added to the silence of running up figures at a very low salary, depressed his spirits and sickened his ambition, which looked toward the magic stage. The associations of youth, the instinctive qualities of his aspiring spirit, led him to the sock and buskin, to which he was impelled by the splendid success which had crowned his brother and sister. Without any preliminary preparation, but the usual education of good position and bright intellect, he made his first essay, at Sheffield, as Orlando, in "As You Like it," with much credit to himself and satisfaction to the audience. His theatrical career commenced in 1792. From hence he obtained engagements at Edinburgh, Newcastle and other principle places. Flattered by this probation of success, he repaired to London, and on the night of the opening of the new Drury Lance, in April, 1794, he appeared in the minor part of Malcolm, in "Macbeth." His figure was now very tall, upwards of six feet, we opine. He was very thin, but muscular, yet till time had given him a stage expression and nonchalance, he seemed awkward. He soon arose to the representation of important characters, such as Papillan, in "The Liar," George Barnwell, etc. As Alonzo, in "Pizarro," he gained advancement -- results that led to an engagement at the Haymarket Theatre, under Colman. In 1800 he produced the interesting play of the "Point of Honor." This he translated from Le Deserteur of Mercier. This play holds possession of our stage to the present day. It is simple and affecting in its incidents. The language is elegantly expressed in pleasing dialogue. Shortly afterwards his health became visibly impaired, and his voice weakened to a whisper. A relaxation form professional exertions and travel was suggested. he therefore relinquished his situation at Drury Lane and the Haymarket, and made a continental tour for about a year for the resuscitation of his health. Returning to London in 1803, he entered into an engagement with the Covent Garden Theatre, where his brother, John Kemble, had been installed as the acting manager. He remained, fulfilling many important situations, as leading light comedian, juvenile tragedian, stage manager, etc., in all of which he exalted his profession (and himself) till his daughter, Miss Fanny Kemble, made her debut at Covent Garden as Juliet, in "Romeo and Juliet," in the season of 1829 and '30. Mr. C. Kemble, besides the "Point of Honor," is the author of the following dramatic works: In the meridien splendor of his days, the audience and critics reflected his histrionic powers something in this way: "Charles Kemble excels in three classes of character: in the tender lover, like Romeo; in the spirited man of tragedy, such as Laertes and Falconbridge; and in the happy mixture of occasional debauchee and the gentleman of feeling, as in Shakspere's Cassio, and Charles Oakley, in the 'Jealous Wife.' " We saw a good deal of him in the various walks of high comedy, from the spirited gentleman alluded to, to the lofty cothurnes of Hamlet, Macbeth, etc. His figure and large expressive features produced a natural tout ensemble that gave dignity and command to his person. A deportment most polished, and an elegancy of address, subdued to a studied gracefulness of attitude, were striking attributes in Charles Kemble, which bespoke almost a reverence, as they were directed by a refined mind highly cultivated. But with his performances we were never satisfied; they never reached the heart, and only impressed you with the readings of the educated gentleman. Where passion should be, languor was only visible. There was declamation without the least emotional energy. The intention of the author was mentally rendered, but the heart was left untouched. His acting was not without beauties, and was free from glaring fault. He always seemed to move as the artist of refined feelings and culture. C. Kemble was an excellent German scholar -- indeed, quite a linguist; as an actor and a gentleman, ever esteemed. His managerial career was not so much admired. Therein he fell under sharp censure, as desecrating the nobility of the dramatic stage by the introduction of vile melo-drama horse pieces. But this mania for a species of vulgar representations cannot be attributed to Kemble's taste, but was followed in obedience to the public appetite. When the drama experienced its declination, losing its power as an art and as a medium for poetry, what was Mr. Kemble to do to sustain his treasury? The critics were hard upon Kemble and his horse pieces, and sarcastically suggesgted that, as Cortez is well know to have taken to Mexico bloodhounds in abundance to subdue the natives, Mr. Kemble, in his anxiety to have rendered the illusion of his pieces as perfect as possible, ought to have contracted for a score or two of those bloody animals, to have treated his audience with the wonderful feats of dogs as well as horses. This comedian was therefore treated with several jeu d'esprits on this matter. We subjoin one, under the name of "Melpomene's Will:" Melpomene late "I give and devise "My sights turn to neighs, "Desdemona forlorn, "In hiring my actors, Melpomene died; We offer the remarks of Mr. James Musgrave on C. Kemble's performance of Hamlet, as Mr. M. was a very excellent judge, and, bating some of his critical notions, abounded with good sense and impartial justice: Mr. C. Kemble's Hamlet was excellent, and so generally admired that we think he ought to repeat it without delay. In this we are confident of the concurrence of all but those whose preference for a school different from that in which he has studied, has prevented them from fairly judging his merits. His face is wonderfully like that of Mrs. Siddons, and there is a very strong resemblance from the mouth upwards to Sir John Shee's portrait of his brothers, except that he wants the blazing eyes. His figure is the finest that we have seen since Cooper was in his prime. His acion is manly and incomparably graceful. His performance, altogether, struck us as the most elaborate we have witnessed, yet not so artificial as that of Cooper or Macready, while he differs from the latter in this: that his studies have imbued him with the true spirit of his author instead of leading him astray; and that, when he throws out new ideas, as he often does to those as familiar as himself with the book, in nine cases out of ten they immediately perceive and acknowledge him to be right. He has the fault, and a fault it surely is because it tires the audience, which induced the small wits of London papers to give a greater actor than himself the nickname of "Long Pause." This he carried so far, in some of the early scenes, that he wore out the patience of several who, we are sure, would have admired and applauded him in subsequent passages. In his conversation with Horatio he was perfect. In his closet scene with the Queen he was earnest and impassioned, without going too far; and what we never observed in any other Hamlet, constanty made us remember that filial affection and duty wre the feelings that controlled and guided all his designs and acts. The best passage of all -- one in which we could not detect a fault, and one in which we could note more beauties than we have now space to set down -- was when he meets Ophelia's funeral at the grave: the single speech, "I loved Ophelia!" etc., would have sufficed to prove him a tragedian of extraordinary feeling, taste, and intellect. And who could fail to remark the mode in which, without any apparent effort, he gave an emphasis to the word 'brothers!' which made that inimitable passage tell with tenfold effect upon the hearts of those who are accustomed to read Shakspere with devotion. He was very fine, too, in the dying scene, which he acted feelingly and earnestly, without rant. the play scene he executed like all contemporaries, and, as we think, as badly shoving himself about the floor, and concluding with a burst of fury utterly misplaced. The play was generally well acted. Mr. Wood was not so good in the Ghost as it is usually acted by him. Rowbotham was very good in Horatio. Mr. Smith looked well and acted with propriety, but he should study. | p. 3274. as my recollection can go back in green-room reminiscences. We had a Kemble with us about 1806 in the person of Mrs. Whitlock, the sister of Mrs. Siddons, and as Mr. Bernard says in his "Stage Recollections," "Mrs. Whitlock was allied to her (Mrs. Siddons) in genius as well as in blood." But the play-goers of 1832 hardly remembered that splendid tragic actress, whose expression and clarion voice in "Adelgitha" still appears to our vision and tingles in our ears. Yet the Kembles were familiar to all conversant with dramatic history and its exponent, the stage. October 10th, Mr. Kemble made his first appearance as Hamlet -- Horatio, Mr. Rowbotham; Laertes, Mr. Smith; Queen, Mrs. Maywood; First Grave Digger, Mr. Roberts; Ophelia, Mrs. Rowbotham. Fashion appeared in the boxes as fomidable as a Grecian phalanx. It is unneccessary to say the house was crowded. We beg to trespass a brief biography of this eminent gentleman. Mr. C. Kemble was the youngest son of Mr. Roger Kemble, who, as history says, was, in appearance, the perfect ideal of a scriptural patriarch. For many years he was manager of a provincial company of comedians. His nativity dates 25th November, 1775, at Brecknock, in Wales, being also the birth-place of Mrs. Siddons. John Kemble, his brother, placed Charles, when only thirteen years of age, at the college of Douay, in Flanders, where he remained three or four years. He returned to England at the end of this term, and received the appointment of a clerkship in the Post Office. In this situation he soon became restless. The seclusion from the world, added to the silence of running up figures at a very low salary, depressed his spirits and sickened his ambition, which looked toward the magic stage. The associations of youth, the instinctive qualities of his aspiring spirit, led him to the sock and buskin, to which he was impelled by the splendid success which had crowned his brother and sister. Without any preliminary preparation, but the usual education of good position and bright intellect, he made his first essay, at Sheffield, as Orlando, in "As You Like it," with much credit to himself and satisfaction to the audience. His theatrical career commenced in 1792. From hence he obtained engagements at Edinburgh, Newcastle and other principle places. Flattered by this probation of success, he repaired to London, and on the night of the opening of the new Drury Lance, in April, 1794, he appeared in the minor part of Malcolm, in "Macbeth." His figure was now very tall, upwards of six feet, we opine. He was very thin, but muscular, yet till time had given him a stage expression and nonchalance, he seemed awkward. He soon arose to the representation of important characters, such as Papillan, in "The Liar," George Barnwell, etc. As Alonzo, in "Pizarro," he gained advancement -- results that led to an engagement at the Haymarket Theatre, under Colman. In 1800 he produced the interesting play of the "Point of Honor." This he translated from Le Deserteur of Mercier. This play holds possession of our stage to the present day. It is simple and affecting in its incidents. The language is elegantly expressed in pleasing dialogue. Shortly afterwards his health became visibly impaired, and his voice weakened to a whisper. A relaxation form professional exertions and travel was suggested. he therefore relinquished his situation at Drury Lane and the Haymarket, and made a continental tour for about a year for the resuscitation of his health. Returning to London in 1803, he entered into an engagement with the Covent Garden Theatre, where his brother, John Kemble, had been installed as the acting manager. He remained, fulfilling many important situations, as leading light comedian, juvenile tragedian, stage manager, etc., in all of which he exalted his profession (and himself) till his daughter, Miss Fanny Kemble, made her debut at Covent Garden as Juliet, in "Romeo and Juliet," in the season of 1829 and '30. Mr. C. Kemble, besides the "Point of Honor," is the author of the following dramatic works: In the meridien splendor of his days, the audience and critics reflected his histrionic powers something in this way: "Charles Kemble excels in three classes of character: in the tender lover, like Romeo; in the spirited man of tragedy, such as Laertes and Falconbridge; and in the happy mixture of occasional debauchee and the gentleman of feeling, as in Shakspere's Cassio, and Charles Oakley, in the 'Jealous Wife.' " We saw a good deal of him in the various walks of high comedy, from the spirited gentleman alluded to, to the lofty cothurnes of Hamlet, Macbeth, etc. His figure and large expressive features produced a natural tout ensemble that gave dignity and command to his person. A deportment most polished, and an elegancy of address, subdued to a studied gracefulness of attitude, were striking attributes in Charles Kemble, which bespoke almost a reverence, as they were directed by a refined mind highly cultivated. But with his performances we were never satisfied; they never reached the heart, and only impressed you with the readings of the educated gentleman. Where passion should be, languor was only visible. There was declamation without the least emotional energy. The intention of the author was mentally rendered, but the heart was left untouched. His acting was not without beauties, and was free from glaring fault. He always seemed to move as the artist of refined feelings and culture. C. Kemble was an excellent German scholar -- indeed, quite a linguist; as an actor and a gentleman, ever esteemed. His managerial career was not so much admired. Therein he fell under sharp censure, as desecrating the nobility of the dramatic stage by the introduction of vile melo-drama horse pieces. But this mania for a species of vulgar representations cannot be attributed to Kemble's taste, but was followed in obedience to the public appetite. When the drama experienced its declination, losing its power as an art and as a medium for poetry, what was Mr. Kemble to do to sustain his treasury? The critics were hard upon Kemble and his horse pieces, and sarcastically suggesgted that, as Cortez is well know to have taken to Mexico bloodhounds in abundance to subdue the natives, Mr. Kemble, in his anxiety to have rendered the illusion of his pieces as perfect as possible, ought to have contracted for a score or two of those bloody animals, to have treated his audience with the wonderful feats of dogs as well as horses. This comedian was therefore treated with several jeu d'esprits on this matter. We subjoin one, under the name of "Melpomene's Will:" Melpomene late "I give and devise "My sights turn to neighs, "Desdemona forlorn, "In hiring my actors, Melpomene died; We offer the remarks of Mr. James Musgrave on C. Kemble's performance of Hamlet, as Mr. M. was a very excellent judge, and, bating some of his critical notions, abounded with good sense and impartial justice: Mr. C. Kemble's Hamlet was excellent, and so generally admired that we think he ought to repeat it without delay. In this we are confident of the concurrence of all but those whose preference for a school different from that in which he has studied, has prevented them from fairly judging his merits. His face is wonderfully like that of Mrs. Siddons, and there is a very strong resemblance from the mouth upwards to Sir John Shee's portrait of his brothers, except that he wants the blazing eyes. His figure is the finest that we have seen since Cooper was in his prime. His acion is manly and incomparably graceful. His performance, altogether, struck us as the most elaborate we have witnessed, yet not so artificial as that of Cooper or Macready, while he differs from the latter in this: that his studies have imbued him with the true spirit of his author instead of leading him astray; and that, when he throws out new ideas, as he often does to those as familiar as himself with the book, in nine cases out of ten they immediately perceive and acknowledge him to be right. He has the fault, and a fault it surely is because it tires the audience, which induced the small wits of London papers to give a greater actor than himself the nickname of "Long Pause." This he carried so far, in some of the early scenes, that he wore out the patience of several who, we are sure, would have admired and applauded him in subsequent passages. In his conversation with Horatio he was perfect. In his closet scene with the Queen he was earnest and impassioned, without going too far; and what we never observed in any other Hamlet, constanty made us remember that filial affection and duty wre the feelings that controlled and guided all his designs and acts. The best passage of all -- one in which we could not detect a fault, and one in which we could note more beauties than we have now space to set down -- was when he meets Ophelia's funeral at the grave: the single speech, "I loved Ophelia!" etc., would have sufficed to prove him a tragedian of extraordinary feeling, taste, and intellect. And who could fail to remark the mode in which, without any apparent effort, he gave an emphasis to the word 'brothers!' which made that inimitable passage tell with tenfold effect upon the hearts of those who are accustomed to read Shakspere with devotion. He was very fine, too, in the dying scene, which he acted feelingly and earnestly, without rant. the play scene he executed like all contemporaries, and, as we think, as badly shoving himself about the floor, and concluding with a burst of fury utterly misplaced. The play was generally well acted. Mr. Wood was not so good in the Ghost as it is usually acted by him. Rowbotham was very good in Horatio. Mr. Smith looked well and acted with propriety, but he should study. |