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A PILL FOR MRS. TROLLOPE; OR, MANNERS OF THE ENGLISH
In three parts. Consisting of droll songs, stories, dialogus between passengets ancedots, aspirations of the H-- letters of the alphabet, hell, hen, hem (not [?] wot lays eggs) &c. The object being amusement and profit. Tickets 50 cents, to admit Lady and Gentleman; Children 25 cents, admitted with parents and gaurdians only.
If Mr. R. [?] in these gloomy times banish demons from the hearts of his friends by laughing at the humors of John Bull, then will his ambition be gratified and in the absence of superior entertainments he begs the people to come and partake the Olla Podrida, being perfectly nutritious, void of all grossness; and suited to the most fastidious taste. A professor will preside at the Piano forte. Hall cool as an ice house.
Roberts had a good house in spite of the heat of the weather and frequent rains, and the shades of the cholers, supposed to be floating in the air.
The theatres did not open this season at the usual periods, in consequence of the visitation of the cholera during the summer months. The follwing card appearted:
CHESNUT STREET THEATRE.
The public is respectfully informed that the opening of this establishment is postponed to a future time, at the request of the Sanitary committee. Due notice will be given of its opening.
Afterwards, the following appeared:
CHESNUT STREET THEATRE
Box Tickets 75 cents; Pit 37 1/2 cents; Gallery 25 cents.
The public is respectfully informed that this old and established place of amusement will be opened on
SATURDAY, September 8th, With a well selected company, whose talents will better speak to public favor tan can any assertions of the managers; but they hope that they have hitherto met the public wishes on that point, as well as exhibiting a desire on all occasions to cherish the interests of the drama by the production of novelty, and all those accessories of an intellecual character that may render a theatre a place of rational amusement. Thus impressed, they hope their [zeallous?] enlightened citizen of Phiadelphia. During the recess the theatre has been newly painted and decorated. Engagements have been already made with the following celebrated preformers, whi will appear in succession: Mr. Sinclair; Madame Peron; the Ravel Family, from Paris; Mr. James Wallack; Miss Vincent; Mr. Charles Kemble, Miss Fanny Kemble, Master Burke, Mrs. Austin, and others who will appear during the seasion.
Stockholder's Tickets now ready for delivery at the Box Office.
Leader of the Orchestra, Mr. B. S. Cross, Jr.
The house opened with the military piece of "Napoleon." The cirps pricipally consisted of the same names (with a few minor exceptions) as at the closing of the last season.
Monday, September 10th, "Massaniello" was produced, with Sinclair and Madame Peron in the principal vocal parts. Fenella, Mrs. Rowbotham. The "Spectre Bridegroom" followed. Niccdemus, Mr. Walstein; Diggory, Mr. Roberts. The star vocalists drew poor houses.
Thurdays, September 13th, the first appearance here of the celebrated Ravel Family, from Paris, consisting of tenpersons, professors of the gymnastics. The spectable consisted of rope dancing, herculean fests, and pantomime ballets, in four parts, in which young* Gabriel Ravel (now old Gabriel) sustained the principal characters. The corps of pantomimists, rope dancers and gymnasts, probably was the most extraordinary and universally enduring popular novelty that ever came to this country from the old world. It seems to us that is has been successively recontructed from three generations, ever rejuvenated as its members began to grow old. For near thirty years many of the original performers were found amongst its active members; and to the last might of their preformances in America, the unique, agile and mompareil artiste, Gabirl Ravel, preformed his various gymations with his youthful elasticity. With wealth and well-earned laurels the Ravels have returned to their native soil, "sunny France," there to spend the balance of this life under their own vine and fig trees." Sensible [panomimist?]! The vivid French are thrify people after all !
September 16th, second night of the Ravels. Crowds running to see them, and the newspapers loud in eulogies on their merits.
September 21st, Mad. Feron's benefit --"Cinderella," and a new interlude of the "Consript Soldier," by the infant Ravels. The opera of "Midas" -- Apollo, Mr. Sinclair; Mysa, Mad. Feron.
September 22nd, last night but one of the Ravels. This evening, a new pantomime ballet of "Cocomba, or the Embassy to Smyrna," young Gabriel in many new things. Third appearance of Tom Rice as Jim Crow.
September 26th, the first night of Miss Vincent, as Clara and Kate O'Brien, in "Perfection."
Miss Vincent did not arrive this evening from new York in time to commence the play, so that the curtain did not rise till after eight o'clock. She had played the night before at the Bowery, and not being in good, or strong health, by over-fatigue, did not start for Philadelphia in seasonable time. Mr. Hamblin was her mentor or guardian. Many surmises and busy deduction were afloat on this topic. Some alleged that he wanted her to act night and night about at the Bowery and Chesnut Streets Theatres. In truth, this young actress had become a most attractive object to theatres; and Hamblin, in his zealous every suggestove excitements. The lady's pretensions were certainly large, but were not of so commanding a nature as to reach the goal of theatrical ambition through a claptrap coup de main. Besides, Fanny Kemble was then in bursting embryo, and soon, like an Alpine avalanche, swept all popular favor before her sweeping power. Hamblin's action was injudicious.
September 27th, benefit of young Gabriel Ravel. Sinclair and Madam Feron volunteered in "Masaniello." On this occasion "Jocko, or, The Ape of Brazil," was produced, with young Gabriel as Jocko, in which he exhibited a preformance so unique, so natural and so astonishing in every respect as to place it amoung the wonders of the stage. Certainly its parallel has not been witnessed in our day in agility and naturalness. It was perfection.
September 28th, Miss Vincent in "The Child of Nature" and the drama of "Therese." Car. win, (as originally performed by him in America,) Mr. Maywood. This is intended to mean that he was the first to preform the part here. Jame Wallack was the original Carwin at London, and most ably did he pay it. There is much nonsence about this matter in the profession. The original of a part may not be its best representative, if that is its talismanic sence. Miss Vincent subsequently appeared as Juliet.
October 4th, "juvenile night by the Ravels." To give an opportunity to families to see the Ravels at an early hour, all their preformances will come first in the eventing. "The Three Chinese," "A Pas de Trois," on three ropes by young Gabriel, Antoine and Madame Ravel; a ballet called "Monsieus Molinet, or, a Night's Adventures, all as they executed it at Port St. Martins, Paris.
October 6th, a play called "The Wanderer, or, The Rights of Hopitality," from the German, by Charles Kemble, with the ballet of "Godensky, or, The Skaters of Wilna," a new mazurka by Jean and Madam Ravel. The mode (or trick) of skating practiced by the Ravels in this pantomime we perceive has been introduced as a branch of gymnastic exercise in our modern gymnasium -- an artificial mode of intruction that many make with facility skaters on the real simon pure ice, while it imparts salutary physical exerice.
During this summer and the theatrical recess of 1832 died Joseph Jefferson, Sr., at Harrisburg, Pennsylvania, aged fifty-four, being born in Plymouth, England, in 1778. In our first sketches of the Philadephia Stage we have spoken of this great comedian and worthy gentlemen, and may not again echo our eulogies of his superior claims further than to say that Jefferson arrived in this country at Boston, in 1796. After a brief sojourn there he joined the old American company at New York under Hodgkinson & Hallam, sharing the comic honors with the former, who was deemed the incomparable Momus of our stage. Circumstances removed him to the old Chesnut street company, in 1803, where in he remained until 1830. He was early attacked with symptoms of gout, whose tortures increased with his advancing years, As Mr. W. B. Wood truly says, "the decline of Warren's fortunes greatly distressed him. His associated of thirty years were disappearing from his side, and he retired suddenly from the stage of which, for a quarter of a century, hehad been the delight, ornament and boast," His last benefit in Philadelphia, when he presented a new comdey, called "A School for Grown Children," yielded less than the expenses. While the manager demanded and received the full amount of his benefit charges, Jefferson only recieved the half of his weekly income. This melancholy result drove him forever from our board. The last part he acted in Philadelphia was Sir Bashful Constant, in "The Way to Keep Him," for Wemyss' benefit.
No memorial for many years marked his last resting place in the Episcopal Cemetery, on the banks of the Susquehanna river, until 1843, when Chief Justice Gibson, of Pennsylvania, and his brother associate, Judge Roger, erected a monument to his memory, with a most feeling and appropriate inscription engraved thereon, which does honor to the heart and mind of the learned Judge and the most amiable of men. Judge Gibson addressed a letter of inquiry to Mr. W. B. Wood in relation to this matter, enclosing a copy of the inscription for his perusal, and, if necessary, for his correction if error existed. The letter itself is of a highly interesting nature, as a heartfelt homage paid to the virtues of the drama and to the memory of Mr. Jefferson, whose natural delineations, with that of others often beguiled Judge Rogers and himself of many heavy moments, thus feeling a debt of gratitude to the comedian that they were anxious to pay. Judge Gibson's enlightened sensibilities and acknowldged taste in he arts need no eulogies from our humble pen. They live in our history. Mr. Wood publishes the letter in his "Personal Recollections," and we commend its perusal to our readers.
A late cerrespondent of the Philadelphia Press, at Harrisburg, speaking of the tomb of Jefferson, as erected by the Judges, continues thus : "The tomb is in a very dilapidated condition," suggesting its repair by his surviving relatives. It should be attended to.
The 10th of October was an era of the Chesnut street stage, when no les a personage appeared thereon than the celebrated Charles Kemble, a dramatic household name in the profession, not only in English, but jere, as early
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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: 1. "The Wanderer; or, The Rights of Hospitality." A historical drama, in three acts, translated from the "Eduard in Schottland," of Kotzebue, and produced at Covent Garden the 12th of January, 1806, where it met with success. 2. "Plot and Counterplot; or, The Portrait of Cervantes." A farce, produced at the Haymarket in 1808. Translated from the French of Dieulafoy. 3. "Kamschatka; or, The Slave's Tribute." A three act drama, from the German of Kotzebue. It was played four nights, and then expired. 4. "The Child of Chance," a farce, in two acts, 1812, performed three times. 5. "The Brazen Bust," melo-drama, translated from the French, 1813.
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 Had a pain in her pate; Her body was all in a tremble; Her silence she broke, Then sobbing bespoke Her sable factotum, Charles Kemble.
"I give and devise My tears and my sighs, My racks, mighty havocs to humble, My poison and scrolls, My daggers and bowls, In trust for the following jumble:--
"My sights turn to neighs, To litter my plays, To gee hol my tragedy speeches; My bowls made for slaughter, To buckets of water, My buskins to brown leather breeches.
"Desdemona forlorn, With a sieve full of corn, Shall soften the rage of Othello; His jealousy check, With a pat of the neck, And whisper, 'So ho, my poor fellow!'
"In hiring my actors, In spite of detractors, Don't look to their features or eyeballs; Ne'er guide your selection By voice or complexion, But give high price for the piebalds."
Melpomene died; Charles Kemble replied, "I like the experiment vastly," So booted and spurr'd, He trots in the herd Of Merryman, Parker and Astley.
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.
