The British Press; or, Morning Literary Advertiser.
London, England, 1826-03-28 00:00:00

SURREY.

This commodious little theatre Presented last night a va-
riety of entertainments, intended to suit all tastes. Otway's
celebrated tragedy of Venice Preserved was brought for-
ward, under the name of The Con,piracy, The character of
Bel rid era was sustained by Miss Louis, in a respectable man-
se►; and we say this with a full recollection of some highly
gifted actresses, whose names are intimately associated with'
the character. Mr. Mortimer played ✓u tier with consider-
able energy ; and Mr. Cobham, from the Dover Theatre,
made his re-appearance in London in the arduous cha-
racter of Pierre, which, under all the circumstances, could
not !XI pronounced a failure. The scenery, by Mr. Tomkins,
le:lie:a great credit on that artiat.

The second pet-of the evening's entertainment was
The Apprentices' °pins,. or The one, Lad; a new piece by
Mr. C. ; intended to elucidate the celebrated paint-
ings of lingual, in which he represented the happy conse-
quences of industry and good conduct, and the unfortunate
results of idlenne and immorality. The principal character
of the Idle Apprentice was assigned to Mr. Vale, whose
acting abounded in humour. although but badly supported
by the other performers. The concluding entertainment
v (mid baits name appear to have been intended for the
quality, who might be returning at a late hour front
Greenwich fair • and if such was the design, it WAP most
suceeasful, as as been proved by the necessity of appealing
to the audience for a patient hearing.
The arrangements of the theatre rvflect great credit on
the proprietor and manager, who appear to pay every
Mimi* attention to public convenience.

BURO.
The I ea -t which can active pleasure from the gledness
of othoft, has perhaps no better oppartunity of enjoying its
benevolent sympathy than that afforled during the holiday
aeation,'when mirth relta 1, we may almost ray, despotically.
We may obterve, alao, its sovereignty is no where more
apparent than at the thtatret, each of which possesses to a
certain extent its particular connections. The Coburg is
tertaisly entitled to rank amongst the first of those generally
classed as minors. It had no sinner oFened, than it suc-
ceeded in establishing a peculiar reputation, which, by an
unusual uniformity of mamgemtmt, it has maintained up
to the ptet;:nt lime. lb: lasformarees hive been remark-

able for extraordinary boldness, fidelity, and energy. They
have rourtrayed with vigour all the " pomp and circum-
stance of glorious war;" and they have possessed themselves
of that soul—awakening spirit which characterised the olden
dsys of chivalry—which constituted the magic of the
tournament. The latter has been mainly derived from the
Poet of the North, whose works promise to ctolorc, even
as long u the bills, craigs, and glens they describe ; and
who, by the way, as we judge from his recent productions,
_ .

seems aispopell: like the battla of ancient clay; to become

warrior ass well as minstrel—to stick the feather in his bonnet

which he has hitherto held in his hind.

Thrre can be no

doubt hut that the principal contributor% to the success of
. • • . .

this species of representation have been Messrs. Blanchard
and Bradley. Combats on the stage are generally destroyed
by a want of expertness in the combatants ; but these intli-
vitluals are sufficiently skilful to avoid an
,exhibition of the
trickery of their art, and the illusion being, therefore, un-
disturbed, they are enabled to add all that sanguinary, ttr-
rifie, that Germanic—if we may he allowed the term—
detail, which, but for the faithfulness of the portrait,
weuhl excite disgust anti deprecation. On what principle
it is that we derive pleasure from an exhibition of tuf-
feting humanity, as witnessed through the mystic veil of
the drama, we leave the philosophers to explain more satis-
factorily than they have hitherto. It is sufficient for us
to observe, that 'these gentlemen, feeling their power,
boldly made the experiment, and succeeded. The result
id, they, and the species of drama peculiar to this theatre,
possess their exclusive votaries, whose admiration is as
thcitled as hrthat of others who may he attached 15 an
higher order of composition and representation. While
adverting to the great theatres we may observe, that fre-
quently as they have invaded, we might almost say, the
property of the minors, their efforts have seldom been
attended with success. They almost invariably fail
in melo-drama, notwithstrinling the advantages they
may be supposed to possess, derivable from their su-
periority of scenery, capacity of stage, command of
machinery, and, in fact, of all the elements composing
either the picturesque, beautiful, or sublime, of the
drama. We say, notwithstanding that. they boast their
advantages, they talk of " Guns and wounds—God save
the mark !"—as did the Popinjay described by Hotspur.
They want the master spirits, the genius of the scene
They give us the storm, without that which is necessary
to a development of its terror—the lightning, while, from
the conflicting blades of our two before-named combatants,
the fire-flash streams as wrathfully as ever did that gas-,
rated in the angry eye of Jove. Until the patent theatres
can approach nearer the excellence attained by the s,
it would be wiser, perhaps, that they did not a to
appropriate Wet which has, of necessity, become the only
legitimate foundation of the latter's claim to patronage. ' •
The Coburg has been much improved during the re.
cess. Without, a neat portico has been erected, which
affords a convenient shelter. Within, in addition to a
thorough renovation of the gilding, a new proscenium has
been constructed, which detracts something, perhaps, from
the stage, but which adds to the convenience of hearing.
This has enabled the managers to furnish six additional
stage boxes, supported by elegant gold pilasters of the
Corinthian order.

The first piece was a mere sketclt for the purpose of intro-
ducing the dramatis person engaged for the season, and Mr.
Davidge, as the new proprietor, whose early manifestations of
a liberal feeling will, we trust, berewarded Is they deserve.
The piece consisted principally of selections from many
that have previously been played at this theatre, and hail
acquired popularity. It is called The Managers Vision.
The manager tails asleep on. his couch, and these recite-
tations are supposed to compose his dream. The piece is
wound up by his waking, and being gratified by the intel-
ligence that there is a corps at his command. which will
realise what he supposes an " airy nothing." Amongst
the recitations there was one given by Young from the
City of the Plague, exhibiting considerable power and
judgment. Blanchard gave a scene from the Maid of
Genoa, as a drunken corporal, which was inimitable. This
was the best thing of the evening. lie sustained most ably
his part in a combat; the difficulty under which he laboured
of regulating himself, while subject to the influence of his
potations, being humourously contrasted with his practical
advantage as a sword's-man. Huntley was announced in
the bills to appear in this and the second piece ; but an apo-
logy was made for him on account of indisposition. The
Old Man of the Mountain, or the Castellan's Son, was
also performed for the first time. It is founded on one of
Kotzebue's pieces, and is dramatised, we understand, by
Mr. H. M. Milner. The scene is laid in Switzerland. The
original proprietor of the Castle of Thurn and his daugh-
ter, are supposed to have been murdered at the instigation
of Welzendorf (Rowbotham), who, thirsting for the for-
mer's honours and possessions, adopts the readiest means
of acquiring them. His intentions are, however, frus-
trated by Sigismorn (Hemmings), the next of kin to the
murdered Lord, who, with his partner, Zerilder (Miss
Watson), succeeds to their relative's estates. Welzendorf
having been defpted, ceases to pursue the object of his
desire until he'ineets Zerilder, with whom he becomes
enamoured. This is a new incentive to action, and
he devises various means to compass the ruin of
his rival, and to obtain possession of his lady. As a
sort of underplot, Sehoohert, an old warden, has a
daughter. Laurina (Mrs. Young) who is attached to
Alarie (Blanchard) a faithful domestic of the rightful
Lord. The father, however, perversely wishing to wed her
to some other, she flies to an old hermit, called the Man of
the Moastain. She is subsequently forced from his pro-
tection ; Sigismorn is taken prisoner by Welzendorf, and
confined in his own castle, which the Hermit healing, he
repairs to. It subsequently turns out that the Hermit
is the rightful possessor, supposed to be murdered,
and Lauriaa proves to be his daughter. Supposing
his daughter dead, he has allowed his relative to enjoy
possession of his rights, himself giving preference to
a life of solitude ; but he now sees reason 'for as- I
setting his title, the usurper is overthrown, and an '
equitable adjustment ensues. From the sketch we have
given it will be judged the plot affords ample scope for
the exercise of an author's ingenuity. The opportunity
has not been lost; the numerous vicissitudes, the hair-
breadth escapes, and the sufferiogs absolutely sus-
tained, create their varying and appropriate degrees of
interest. There is also a character given to Davidge which
is intended to be whimsical. This will admit of some ju-
dicious altetation. The jokes are sparingly interspersed,
and even these are not remarkable for their freshness.
Blanchard played with his usual spirit; Rowbotham made
a formidable usurper; Young also acquitted himself well;
and, with a few exceptions, sic de rrteris. In reference to
the females, Miss Watson, Mrs. Young. and Mrs. Da-
vidge arc so well known at this Louie that they need no
particular comment.