The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1856-02-19 00:00:00

No. 1737.]

THEATRE-ROYAL, LIVERPOOL.
MR. BARRY SULLIVAN
Is engaged for a Limited Number of Nights.
b• in consequence of the numerous inquitjes for a repetition of
of HAMLET, and the great applause with which Mr. BARRY
SULLIVAN' was received, he will repeat that Character THIS
ItYRNING (Tuesday), the 19th instant.

This present TUESDAY EVENING, the 19th inst.,
HAMLET.
Hamlet Mr. Barry Sullivan.

SHAKSPEARE'S MACBETH!
The Management respectfully announces the revival of this
~,
:tngedy, in an entirely original form of Dramatic and Artistic
,
frectiveuess, to achieve which result most indefatigable research
ua, been employed, and an outlay commensurate with its im-
vortance freely expended.
Tea
original Text of Shakepeare is carefully adhered to, and
r.ro Scenes restored which are omitted from the usual Stage
'ePresentations.

The valuable assistance of
Mr. BARRY SULLIVAN
Ras been secured expressly for the character of Macbeth; and
Mrs. VICKERY,
4rora the Theatre-Royal. Drury-lane, will make her First Ap-
pearance in Liverpool, in the character of Lady Macbeth.
THE VOCAL MUSIC,
usually attributed to Matthew Locke, out which antiquarian re-
search has proved to be the composition of John Eccles, will be
though not appertaining to the original text. The Instrumental
accompaniments to the same are entirely re-arranged (and in part
co nlposed) by Thomas German Reed. The March of Macbeth's
nay, the Bardic Music in the Banquet Scene, the Incantation
Istisic in the Fourth Act, and the various charges and flourishes,
1 ~QMPosed and arranged expressly for this revival by EDWARD
, ITZWI
Previous to the Tragedy the Orchestra, under the direction of
j". BUSH EZ (Musical Director), will perform the First Movement
tlf Spohr's celebrated Overture to " Macbeth ;" and between the
:lets the following classical Works, namely :—The Overture to
Ruy Bias" (Mendelssohn);" the Overture to " Der Berggheiat"
(SPohr) ; the " Marcia Funehre," from the " Eroica Sinfonia"
(aeethoven); and the "Grand Triumphal March," by F. Ries.
THE SCENERY,
Designed entirely by Mr. DEA RLOVE, jun., and Painted by him,
. .

,
assisted by Mr. GEORGE DtivsoN.
The Architecture previous to the Norman Conquest has been
adopted. During the five centuries which preceded that event
many Castles and Churches had been erected of considerable im-
DOrtance; the buildings excelled in Ironwork, and were frequently
ornamented with Colour.

THE COSTUMES
By Mr. and Mrs. ..NIFRIES.
The very uncertain information possessed respecting the Dress
Worn by the inhabitants of Scotland in the eleventh century,
renders the attiring of the characters in Macbeth a task of very
treat difficulty.
The nobles and common people wore mantles of one sort, long
and flowing, and shaggy rugs. The nobles wore mantles of varie-
gated colours; the common people mantles of a brown colour,
,near to the colour of heather. They wore no stockings, but
notines, made of the skins of deers or other animals. Many of
the Scotch went with bare heads, allowing their hair to grow very
The Scottish female habit consisted of a long robe, girdled
round the waist, with a full and flowing mantle, denominated the
Arisad.

THE ARMOUR AND WEAPONS.
By Mr. BROMLEY.
The ancient Scottish weapons were the spear, the battle-axe,
the bow, and the sword, (cleadheamh.more.) Their defensive
armour—a shirt of ring mail, and round targets covered with
bull's hide, and studded with nails, and bosses of brass or iron.
The eagle feather in the helmet was the distinguishing mark of a
chieftain. The armour of the English forces is copied from the'
Bayeux tapestry.
THE MACHINERY,
Which is of a most elaborate description, has been made under