Original. PARK.-No little excitement has pervaded the theatrical community during the past month. All eyes have been turned upon, and every anxiety manifested for, the re-appearance of our countryman, Forrest. The character he selected was. Othello. The success which crowned his efforts in Europe, naturally led his admirers to suppose that a great change must have taken place in his acting, to call forth such long and loud demonstrations of public sentiment as were manifested by the Europeans; or at least, those which reached this country through the press. Mr. Forrest, as an American and physical actor is richly deserving of the mighty praise which is on all sides acceded to him; but when his friends claim for him the title of the "greatest actor living," we must beg to differ with them. He is not the natural actor-but merely the artist, affecting nature, and at times losing sight of that affectation which he endeavors to assume. That powerful, clear, distinct and impassioned enunciation which endeared him so warmly to his countrymen, he has abandoned, or affects its abandonment;clearly proving that his present style is merely experimental, and not at all consonant with his own views. That bold, daring spirit, with which he formerly sustained the character of Othello, is now changed into the quiet, pliant, and love-sick Moor: "The spirit stirring drum, the ear piercing fife, The royal banner-aud all quality, Pride, pomp and circumstance of glorious war," which formerly infused ardor and nobleness into Forrest's personification of Othello is no longer felt. The recollection of all those brilliant effects and points which characterized and added lustre to his delineation of the noble Moor, now flash across the imagination but as a dream, "And O, ye mortal engines whose rude throats The immortal Jove's dread clamors counterfeit, Farewell! Othello's occupation's gone!" Forrest's second appearance was in King Lear, portions of which he performed infinitely better than Othello. The tragedy itself is certainly beyond all comparison the most affecting that is to be found in any language. A father in blind confidence giving up all to his children-those children requiting his parental kindness with scorn and ingratitude, rebelling against him, turning him out to the wild tempest's wrath, to desolation and madness,-present a picture so superhuman and appalling, that nature shrinks from the contemplation of it. ception of his author, or medium of style to guide him through a long and laborious part. He produces no sensation mentally, and can only succeed in doing so through the aid of his physical powers, which he most strenuously endeavors to suppress, and thereby becomes the cold, unfeeling and spiritless actor, whose intonations are only heard in soft whispers. Damon is the character in which Mr. Forrest excels above all competitors. It is emphatically his own. He represented the fearless Senator without that affectation and disguised voice or style, so apparent on the two previous occasions; and was to all intents and purposes the same Forrest that we witnessed with such delight previous to his departure for Europe. We were pleased to notice that he had very properly abandoned the mistaken course which he adapted in Othello and Lear. We I refer to his speaking continually in whispers, and not allowing himself to give vent to that free, round-toned delivery which is so peculiarly his own. Mr. Forrest has also appeared as Richard, Macbeth, Spartacus and Rolla, but at such a late period that we are unable to mention particularly his performance of each character. Notwithstanding the new conception he has taken of Richard,-it certainly deserving of the universal applause bestowed on it. was not played to our liking. The fencing and dying scene was Mrs. Richardson, late Mrs. Chapman, is now attached to the regular company. Her re-appearance on the field of her former glory was hailed with delight by her numerous admirers. Mrs. Sharpe continues to sustain her high reputation as a tragic actress, and we are sorry that her engagement is fast drawing to a close. Miss Cushman, a young lady of no common literary acquirements as well as histrionic talent, seems to have become a favorite with the Park audience. She has, not as yet, had the opportunity of appearing in such characters as are calculated to display her great versatility of talents to much advantage. Her Goneril, in King Lear, was natural and well conceived; and many of the passages she delivered with force and judgment. What shall we say of her Cherubino, in the "Marriage of Figaro?" It was indeed a most finished piece of acting. The playful vivacity which she threw into the part, won for her additional laurels. We hope ere long to witness her performance of such characters as are her peculiar forte. Miss Cushman's Lady Macbeth, Elvira and Bianca, are not equalled by any lady at present attached to the American stage. Mr. Brough, the bass singer, who accompanied Mr. and Mrs. Wood to this country on their last visit, has concluded a brief engagement at the Park, supported by Miss Horton and Mr. Horn. Mr. Brough appeared in fine spirits and sung with his nights his powers were brought into requisition, did not indicate that his efforts would be crowned with much success. NATIONAL. Under the management of James W. Wallack, this theatre opened with every prospect of a triumphant cam In many instances, as we have before said, Forrest performed well; but he realized not the fretful, decrepid old king. His assumed voice forsook him repeatedly throughout the piece, which considerably marred the realization of every preconcei-usual skill; although the appearance of the houses on the ved idea of King Lear. The great climax of his acting was the curse upon Goneril. On his knees, bare headed, his white locks streaming like a meteor to the troubled air; with heavenward eye, and hands clasped together in convulsive agony, he pronounced that terrible curse, amid the loud, long and dea-paign. The stock company which he selected in Europe, is fening plaudits of the hundreds assembled within the walls of the Park theatre on that evening to witness this great effort of the actor's genius. It was a scene: The remembrance of it will live when Forrest is forgotten. It pierced through every vital; it shook the frame of many of the stoutest hearted. No disposition was shown by the audience to conceal the wonderful, the thrilling effect, which this one seene produced. We have witnessed the performances of every actor since the earliest days of Kean, and most unhesitatingly do we assert that there never was, in our opinion, such a triumph of an actor's abilities to work up the feelings of his auditors, or enlist his own powers sufficiently to produce the effect that Mr. Forrest did in the uttering of the curse upon Goneril. We wish not to be understood as eulogizing Mr. Forrest's entire performance of King Lear-far from it. In almost every scene, with the exception of the one we have mentioned, he subjected himself to severe criticism. He lost, apparently, all control over his voice-it appeared husky, broken, uneven and unnatural; at times it shrillness would pierce the very ear, and then suddenly become subdued and childish. His exertions to make King Lear a melo-dramatic part destroyed the beauties of the tragic, and stripped it, as it were, of the effect intended to be produced by Shakspeare. In fact, Mr. Forrest has no con composed of talent of a rare and diversified range. Almost Mr. James Wallack has appeared in several characters to 305 well filled houses and delighted auditors. Miss Turpin, as a vocalist, is only inferior to Mrs. Wood. She is gifted with a clear, powerful and melodious voice, and must become a great favorite with all lovers of music. Mr. Vandenhoff.-We believe it is admitted universally that this gentleman, with the exception of Macready and Kean, is the most finished and classical actor that has ever visited us. His performance of Coriolanus called forth more applause, perhaps, than was ever before bestowed upon the production of any tragedy. It was a noble personification of the aristocratic, high minded, bold and intrepid Roman. Mr. Vandenhoff pourtrays not only the outlines of the character assumed, but also its lights and shadows. He leaves it not with the audience to imagine the intricate passages of the part he is performing. Whatever may be the character Mr. Vandenhoff attempts, his histrionic abilities challenge the severest criticism, and he will triumphantly emerge from the ordeal of any comparison that can be instituted. There never was a more magnificent representation of Coriolanus witnessed in America than that by Mr. Vandenhoff. The proud and noble bearing of the actor-his classic gestures-his deep-toned eloquence-his calm and chaste delivery, all aided to give effect to his performance. To say that Mr. Vandenhoff was warmly received would indeed be paying but a cold compliment to the enthusiastic audience who witnessed his first appearance. From almost the first sentence uttered by the actor, until he expired, peal after peal of applause followed in deafening succession. His rich melodious tones pierced the very soul, and as it were by magic the audience followed the actor through every scene and seemed to realize to the utmost extent the perilous positions of Coriolanus. They wept with him-their hands and hearts were extended to aid him in the hour of dangerthey beheld not the actor mimicing that proud Roman's career-but 'twas Coriolanus of Rome they looked upon with breathless anxiety. Let none henceforward argue against the actor's power to rivet the attention and draw the imagination away to far-off climes and scenes. If any such there be-we would advise them to witness the performances of Mr. Vandenhoff in either Coriolanus, Macbeth, Cato or Othello. simplicity in every character she pourtrays-hence the effect her acting produces on the public mind. Miss Charlotte Barnes.-This lovely and accomplished young lady has been occupied during the summer in writing a tragedy. Report speaks highly of its incidents and poetry. Mr. Wallack has offered liberally, in order that it may be produced at the National theatre with the tragic strength of his company. BOWERY.-We question the policy of forcing the engagement Mr. Rice; of any particular performer to too great an extent. or, Jim Crow Rice, has been jumping at the Bowery for the last month. The appearances of the houses lately have not indicated that his exertions were at all appreciated. If Mr. Rice had been permitted to play for only six nights, the theatre as well as himself would have discovered ere this the advantage of pursuing such a course. Mrs. Gibbs, whose singing is unquestionably of a high order, has in vain endeavored to prop up the waning plumes of Rice. !! Mrs. Gibbs, we are confident, would have drawn far better houses alone. She is a sweet and modest singer, and a lady every way worthy the countenance of the public. The Macbeth of Mr. Vandenhoff was never equalled on our boards. His beautiful and calm, yet clear and impressive delivery spoke volumes in favor of the actor. Mr. Vandenhoff's conception of the part is totally different from that of any other actor, and he seemed to be fully impressed with the intentions of the great bard himself. The soliloquies were delivered with force and discretion, particularly the one in which he reasons with himself on the dreadful purpose to which his wife had urged him, and completely subdued the house to a gravelike stillness. The dagger scene was no less deserving of the highest praise, by the impressive and original light in which it was conceived. The calmness and tranquility which characterized Mr. Vandenhoff's banquet scene was indeed grand-entirely free from that unnatural rant and forced acting which have invariably marred the interest of this scene in the hands of every other performer. The dictates of reason forbid the belief that Shakspeare intended Macbeth to imagine the identical corpse of Banquo seated before him at the feast. Mr. Vandenhoff conceived it and looked upon it as a mere vision of the brain, never for a moment suffering the audience to be carried away with the idea that he was holding converse with the ghost of the murdered Banquo. Through every scene we would take delight in following such an actor as Mr. Vandenhoff and expatiate at length upon his original and admirable performances, but it cannot be, our space allotted to theatrical notices is already filled and we must submit to defer further remarks until next month. Miss Emma Wheatley is deservedly a wonderful favorite with the public. By her recent performances in conjunction with Vandenhoff, the Wallacks and Abbot, in both comedy and tragedy, she has created a lively sensation, Miss Wheatley is now at the very head of her profession; although she cannot ascend the ladder of fame any higher, still practice makes perfect. With the advantages that now surround her, Miss Wheatley will establish herself, as the reigning and brightest star of the theatrical world in America. Her conceptions are always true to nature; her readings faithful, and she evidently seems to study deeply her author. She throws feeling, pathos and A new sea piece, from the pen of Captain Marryatt, written purposely to give greater scope to the peculiar nautical talents of John R. Scott, will be produced immediately. Mr. Scott is well qualified to embody and give force to the sea phrases and positions of such a writer as Marryatt. OLYMPIC.-This establishment opened since our last. The company is effective, the house elegant, and the scenery novel and well adapted to the pieces intended to be performed, which are light, rather of the burletta order than heavy comedy. We shall not of course predict in regard to its future success, suffice it, that it opened under very flattering auspices. Mr. Blake, one of the managers, delivered the following opening address, somewhat butchered in the recitation, but very favorably appreciated by the audience. Our readers will recognize it as the production of our poetical contributor, E. Burke Fisher. WE hail the light! the light that earliest shone 'Mid scenes like these to life the Drama sprung, Proudly she rose-the cynosure of Mind- Her voice was heard within the mimic bowers, And many an eye which Grief had rudely wrung, Or laughed with Thespis, 'till the wondering throng, Your check her guide, your smile or frown her law. To wake your Mirth, and hush your Cares to sleep ;- Mr. Oxley, who a year since went through a range of characters at the Park with a sustained and creditable success, is now in this city. To personal accomplishments of a high order, he unites scholarly acquirements and great enthusiasm in his profession. No one could converse with him without feeling that he fully appreciates the passion, imagination and wisdom of the great masters of the British drama, and that he has "supp'd full" of the inspiration of Shakspeare. This young American is deserving and accomplished, and we hope to see him once again on our boards. Mrs. Watson, Mr. Watson and Mr. Bishop.-Our city is about to lose, and the western cities are to gain, a pearl or two "richer than all the tribe" of singers. The accomplished artists, italicized above are engaged by Mr. Caldwell for the St. Charles theatre, New Orleans. It is the intention of that gentleman to bring out, during the next season, La Sonnambula. With the try, and within our recollection there never has been a soprano single exception of that of Mrs. Wood, there is not in this coun voice equal to that of Mrs. Watson. She will do, therefore, full justice to the music of Amina, for she has, in addition to a voice of great sweetness and compass, the physical power to sing every note set down for her-which no vocalist but Mrs. Wood has ever yet done-and she is, besides, an exceedingly clever actress. Mr. Bishop, as well as Mrs. Watson, is a delightful ballad singer; we doubt, indeed, if the soul and sentiment of a a song was ever given so completely-with such touching and electrical effect-as it has been by this lady and gentleman. They are both full of feeling and fancy, and there is no "sing ing a song for sixpence" about either of them. Mr. Watson is deservedly admired and properly appreciated in this city as a gentleman of kind heart and pleasing manners, and as a composer and director superior in every respect to the "poor players" who strut and fret their hour in a concert room. They will reach New Orleans about Christmas-filling up the interval by and we bespeak for them the reception which their exemplary giving concerts in the several towns through which they pass, private character and professional ability ought to command. FINE ARTS. Don Juan and Haidee.-This magnificent painting is to be seen at the Stuyvesant Institute, 659 Broadway. It is taken from Lord Byron's poem of Don Juan, and is well worthy of a visit. Monsieur Dubufe, the artist, has done himself infinite credit in the execution of the painting. In order to enable those who have been deterred from dwelling on the pages of the poem, to enter into the spirit of the thrilling scene which the painter has transferred to canvass, a brief recapitulation of the leading incidents of the story of Juan and Haidee, may possibly be interesting. The vessel on board of which Juan embarks at Cadiz, bound for Leghorn, experiences a severe gale of wind, and founders. He escapes in the long-boat, with a number of the ship's crew, and after several days of suffering, is cast, the only survivor of the wreck, "faint, emaciated, and stark," on the wild beach of "one of the smaller Cyclades." He is there discovered by the beautiful Haidee, the daughter of Lambro, a pirate-chief and trafficer in slaves, who had amassed immense wealth, and rules over the island. The young girl conceals the shipwrecked stranger in a neighboring cave. In secrecy, and with the liveliest solicitude, she tends on him while he gradually recovers his health. At the expiration of a brief period, Lambro sets sail on an expedition. Some months after his departure, a report of his death, strengthened by his protracted absence, "puts his house in morning several weeks," and emboldens Haidee to install Juan in the mansion of her "piratical papa," as its new master. A grand feast is held, during the celebration of which Lambro suddenly returns. He forbears to show himself immediately to the lovers, or interrupt the conviviality of the hour. When the feast is over, Juan and Haidee indulge in a siesta. The sleep of the latter is disturbed by a fearful dream, which causes her much uneasiness; and she awakes at the instant her father enters her apartment. The sequel to this scene is told in a few words. Juan is overpowered after a resolute resistance, carried to a slave-market, and sold. Haidee dies of the immediate rupture of a bloodvessel, the effect of the violence of conflicting passions. THE JEWESSES. FONTANES asked Chateaubriand if he could assign a reason why the women of the Jewish race were so much handsomer than the men? To which Chateaubriand gave the following truly poetical and christian one :— The women The Jewesses," he said, "have escaped the curse which alighted upon their fathers, husbands and sons. Not a Jewess was to be seen among the crowd of priests and the rabble who insulted the son of God, scourged him, crowned him with thorns, and subjected him to the ignominy and the agony of the cross. of Judea believed in the Saviour; they assisted and soothed him under afflictions. A woman of Bethany poured on his head the precious ointment which she kept in a vase of alabaster; the sinner anointed his feet with perfumed oil, and wiped them with her hair. Christ on his part, extended his mercy to the Jewesses; he raised from the dead the son of the widow of Nain, and Martha's brother, Lazarus; he cured Simon's mother-in-law and the woman who touched the hem of his garment. To the Samaritan women he was a spring of living water, and a compassionate judge to the woman in adultery. The daughters of Jerusalem wept over him; the holy women accompanied him to Calvary, brought balm and spices, and weeping sought him at the sepulchre. Woman, why weepest thou?' His first appearance after his resurrection was to Mary Magdalene. He said to her, Mary! At the sound of his voice Mary Magdalene's eyes were opened, and she answered 'Master.' The reflection of some very beautiful ray must have rested on the brow of the Jewesses." |