The Sun.
London, England, 1853-03-15 00:00:00

HAYMARKET THEATRE.

Mr. Webster's farewell benefit last night attracted an
audience which filled every crevice of the house. At the
end of the Pretty Girls of Stilberg, which was the third
piece of the evening, he came forward and delivered the
following address :
" Ladies and Gentlemen,—No words can express to you
bow honoured and flattered I feel at this numerous assem-
blage of friends around me on this, my last appearance in the
character of lessee and manager of the little theatre in the
Haymarket. My final official duty is to offer you a grateful
farewell. Having grown in good opinion as an actor, it em-
boldened me to task your patience ns a manager, and in cater-
ing for your amusement your patronage has given me no cause
to regret this experiment, though I began without the assist-
ance of a single farthing beyond what I had saved by rigid
economy out of a very small income. I found this theatre in
the lowest possible state when compared with other establish-
ments, and incapable of being kept open more than the four
summer months, when the leviathans Drury-lane and
Covent-garden—closed ; but, feeling that patronage was not
confined to period or place, I endeavoured to take John Bull
by the horns, and persevered till the leviathans gave way and
this favoured spot became the only constant home of the
drama for three years, once without closing. a night, and I
should have continued to pursue that course had not the
principal performers complained of want of relaxation ; con-
sequently I have since made what are termed seasons ave-
raging about 10 months each. During the 16 years I have
held power here, the longest lesseeship in London on record,
I have had many very trying political and other not dramatic
influences to contend with, but no person employed by me
has ever felt them in manner or money ; and I can con-
scientiously state in all my transactions as man and manager,
I can leave an honourable and honest name to my chil-
dren. lam sure you will excuse this warmth of egotism on
a point so dear to me. A manager's life, ladies and gentlemen,
is not a bed of roses. With the mind ever on the stretch for
your pleasure, and his physical powers endlessly employed iu
carrying out the mental efforts of others, who would induce
the thoughless to laugh at sca-_s who never felt the wound of
such a position, though Cloy have assisted to barb the arrow,
and to authors I find I have paid near 30,0001., if not more.
'Tis said, Uneasy lies the head that wears a crown ;' but far
more uneasy lies his bead begirt with the tinsel crown of
theatrical sovereignty, where every popular favourite is a vice-
roy over him, and where the ways and means are not compul-
sory, but solely dependent on the w:11 and pleasure of our so-
vereign, the public. However, if my labour in the cause of
the drama, which has been a labour of love, has met with the
approval of you, my tried and valued friends, it will not have
been love's labour lost.' Those who remember this theatre
when I first took it, sixteen years ago (of course I exclude the
ladies from so long a remembrance), must perceive the exten-
sive alterations, and I think I may venture to say improve-
ments, that I have accomplished during my tenancy ; abrupt
angles have given way to curves, and my circles, especially
from their present occupancy, appear graceful in the extreme.
I have backed the pit, and could, in another sense, for respec-
tability, against any pit in London. I have stalled off what
was originally the orchestra, sometimes discoursing sweet
sounds, though sweeter music to my ear has supplied its place
in the audible approbation of my exertions, as, to quote the
manager, and actor too.' The pro-
words of Triplet, author,
scenium I have widened 11 feet, and entirely remodelled it,
and introduced gas for the foie of 5001. a-year, and the presen-
tation of the centre chandelier to the proprietors ; and, be-
hind the curtain, money has not been spared to render the
stage as perfect for dramatic representation as its limited
means will furnish. In fact, I have expended, with no ulti-
mate advantage to myself, on this property over 12,0001., be-
sides paying more than 60,0001. in rent , yet I have met with
anything but a generous consideration in return by the party
most interested in the result. I trust my successor, John Bald-

win Buckstone, my old friend and brother actor, will, as a
brother manager, experience a kindlier treatment ; at all
events, I am sure he will deserve it, as honestly as he will zea-
lously endeavour to merit your encouragement. Having passed
from the past to the future, you will perhaps pardon me if I
inform you that I have not turned my back on the Haymarket
without knowing with more certainty than Coriolanus did
that there is a world elsewhere—namely, the Theatre Royal
Adelphi, peopled with imaginative passages of life, serious
and comic, where I hopa the exclusive devotion of my ener-
gies before and behind the curtain will insure me the gratifi-
cation of seeing many or the old familiar faces that have so
often gladdened my eyesight and heart here. I will, at least,
with the blessing of health, deserve the favour, both iu the
quantity and quality of the material I shall present for your
inspection. lam bound to say that that successful establish-
ment has been the mainstay of my management, and, with
my previous successes here, placed me independent of the
world. Ladies and gentlemen, I fear I have been too diffuse,
but we are about to part suddenly from old friends. To the
performers who have served under my banner I publicly ten-
der my warmest thanks for their cordial co-operation at all
times and under all circumstances. To the press generally I
beg to acknowledge my sense of deep obligation, and, in
bidding you farewell on this stage. Ido so with the most
heartfelt gratitude, and with the sincerest wishes for your
happiness and prosperity. Ladies and gentlemen, God bless
you :"

The address was frequently interrupted by applause, and
at its cmclusion several bouquets were thrown upon the
stage. Three supplemental cheers were likewise given by
the audience.

Mr. Webster's management of the Haymarket has con-
tinued for so many years, and has been distinguished by
such an earnest and unflinching struggle to maintain the
literary drama; that a short recapitulation of its principal
features will not be misplaced on this occasion.
On the 12th of June, 1837, the Haymarket Theatre
opened under the management of Mr. Webster with the
tragedy of Hamlet, the principal character being sustained
by Mr. Macready, whose engagement formed the chief
feature of the earlier part of Mr. Webster's first season.
During this engagement the modified version of Beaumont
and Fletcher's Maid's Tragedy, entitled the Bridal, 7as
first produced with Messrs. Macready and Elton and Mrs.
Warner as the principal personages. In thesameseason
Mr. Ranger, who is still a favourite actor in the provinces,th
appeared as a delineator of French character,
con-
siderable success. But the most impowrtaen. t
Tevhi.estiws
one
othoef
production of Mr. Knowles's Love Ch
the few, very few, pieces of the modde,rninrepertoire that have
the first season of
attained a permanent DO
its performance, admirably drew and,
the talents of Mrs.
Glover, Mrs. Nisbett, Mr. Webster, and Mr. Strickland:
The season of 1838 was remarkale. for the commence-
ment of that successful career at this house which Mr.
Power, without material interruption, continued till the
time of his final departure for America.
The W
A' gorse
of the Peppers and the Irish Lion will long be remembered,
if not for their intrinsic vr,lne, at any rate for their utility
in eliciting the humour of that inimitable Hibernia; whose
loss was one of the saddest events connected with the mys-
terious fate of the Preside-it. Mr. Macready had com-
menced his epoch-making management of Covent-garden in
the winter of 1837 ; but, nevertheless, he appeared at the
Haymarket in the summer of 1838, and his engagement
was the occasion of producing Mr. Serjeant Talfourd's tra-
gedy of the Athenian Captive. The reputation which the
legal poet had gained by his celebrated lon was then about
two years old, and the production of another tragedy from
the same pen was anticipated with curiosity. Mr. Sheri-
dan Knowles and Miss Elphinstone were also among the
stars" of 1838, and th 3 Maid of Mariendorpt, a play
from the pen of the former, obtained an ephemeral success.
Nor would a record of this year be complete without an
allusion to the farce of Tom Noddy's Secret, which, although
the subject had been previously adapted at another house,
created a furore through the late Mr. Strickland's excellent
acting. Mr. Strickland was one of those valuable actors
whose death—like that of too many more—has left a gap
in the profession which has never been supplied.
During 1839 Mr. Charles Kean had a farewell engage-
ment at the Haymarket prior to his departure for America,
and the same year witnessed the return from America of
Miss Ellen Tree (now Mrs. Charles Kean), who made a
most successful Mut at the same theatre in the character

of Viola. In this year, too, Mr. Macready terminated his
management of Covent-garden, and again accepted an en-
gagement at the Haymarket, during which Sir E. B. Lyt-
ton's Sea Captain was produced. Single Life, a three act
comedy of the old Haymarket school, written by Mr.
Buckstone as a pendant to his Married Life, was an impor-
tant production of this year, cast as it was with a strength
which it would now-a-days be difficult to concentrate. Mr.
Macready's connexion with the Haymarket extended
through the year 1840, in which Mr. Sergeant Talfourd's
Glencoe and Sir E. L. Belwer's Money were brought out.
The latter of these two pieces is another of those very few
works which we have to set down when we enumerate the
permanent productions of the modern stage. In 1841 Mr.
C. Kean, having returned from America, re-appeared at
the Haymarket, where he acted with Miss E. Tree, but
otherwise the season was not remarkable for important no-
velty. During another engagement of Mr. Macready the
tragedy of Nina Sforza was brought out, and formed one
of the many transient successes of our stage. Mr. Placide,'
celebrated in America as an actor of " old men," appeared
as Sir Peter Teazle, but his stay here was very limited.
At the end of the year 1841 the prospects of the higher
drama were more brilliant than they had been for many
years. The chill created by Mr. Macready's resignation of
the management of Covent-garden in 1839 had been in a
great measure removed by Madame Vestris, who opened it
in the winter of the same year, and at Christmas, 1841,
Drury-lane was opened by Mr. Macready. The two " large
houses" were thus at their culminating point of splendour,
and sanguine were the hopes of dramatic aspirants.
However, in 1842 Madame Vestris's management of
Covent-garden came to its close, and her appearance at the
Haymarket with Mr. Charles Mathews, after a short en-
gagement at Drury-lane, gave somewhat a new aspect to
the theatre. The fairy spectacle, which she had raised to
such perfection both at the Olympic and Covent-garden,
was transplanted to the Haymarket, and held a position
there which has been continued to the present day. The
Rose of Arragon of Mr. Knowles, the Alma Mater of Mr.
Bourcicault, the brilliant success of whose London Assur-
ance was still a town-talk, and. Mr. Robert Bell's Marriage,
were among the productions of this year. In the year fol-
lowing the company received an addition of some impor-
tance in the person of Misa Julia Bennett, who for several
years was an agreeable actress in comedy, farce, and bur-
lesque. The prospect of a revival of the legitimate drama
at a " large house" was completely cut off by Mr. Mac-
ready's resignation of Drury-lane in the course of 1843,
and thus ended the hopes which marked the commencement
of 1842.

In 1844 Madame Vestris and Mr. Mathews were still
among the principal performers of the Haymarket, not in
burlesque, but in comedy, although the holiday entertain-
ments of the house were written by Mr. Planche, generUlly
with great success. Several old pieces of the Congreve pe-
riod were revived about this time on account of the strength
of the comic company. Mr. Webster's offer of a premium
for a five-act comedy, made in 1843, will long be remembered
as a curious incident in theatrical history, though its re-
sult in 1844—via., the comedy of Quid pro Quo—proved a
failure. On the other hand, Used Up, likewise produced
at the Haymarket in 1844, became so universally popular
that the character of Sir Charles Coldstream, played by
Mr. Charles Mathews, has almost passed into a proverb.
A revival of Taming of the Shrew in its complete form,
with an imitation of the early style of stage decoration,
was a unique experiment, of this year, which also saw the
production of Mr. Bourcicault's 011 Heads and Young
Hearts. This, too, was the epoch when a Don Cesar de
Bazan was to be found nearly at every theatre, the Hay-
market included.

An engagement of Miss Helen Fancit and Mr. Anderson,
who went through a series of their principal characters,
and the production of a five-act' comedy by Mr. Jerrold,
entitled Time Works Wonders, were the chief Haymarket
events of 1815 ; and in the following year Miss Cushman,
who had previously made a most successful debtlt at the
Princess's, created a great sensation by her performance of
Romeo to her sister's Juliet. It was also in 1846 that Miss
Reynolds, who remained a principal comic actress at the
Haymarket till within a very short period, first made her
appearance. The Beggar on Horseback, by Mr. Sullivan,
was a clever though very peculiar comedy from an author
who has not burdened the stage with his productions.
Mr. Bourcicault's comedy of A School for Scheming, and
Mr. Marston's Heart and the World—the former a success,
the latter the reverse—were among the conspicuous produc-
tions of 1847 ; but more conspicuous was the Roused Lion,
which began that series of pieces in which Mr. Webster dis-
tinguished himself as a creator of leading parts. Previously
he had usually confined himself to stock characters, or the
creation of subordinate figures, such as Father Oliver in the
Housekeeper, and the Dutchman in the White Horse of the
Peppers, but now he stepped forward with new prominence.
A numerous list of characters might be made to show how
often he shone in this conspicuous position.
Th 3 year 1848 was very important in modern theatrical
history. Mr. and Mrs. Charles Kean recently returned
from America, and with Mr. and Mrs. Keeley formed that
strong combination of talent at the Haymarket which
afterwards led to the establishment of the Princess's
Theatre on a new footing. The Wife's Secret obtained a
success almost unprecedented, and it is worth remarking
that, of the six or seven pieces of importance which have
obtained a permanent place in the repertoire, from the
Lady of Lyons inclusive, three—namely, the Love Chase,
Honey, and the Wile's Secret, were produced at the Hay-
market.

In 1849 began Mr. Macready's series of farewell per-
formances, which, interrupted by intervals, extended over
a considerable period. In the autumn of 1850 Mr. Kean
opened the Princess's Theatre, and when Mr. Macready had
finally retired the Haymarket company began to assume
its present shape. Tragedy was no longer the order of the
day, save for the introduction of Mr. Barry Sullivan, who
has proved one of the most valuable additions to a com-
pany, likewise strengthened by the presence of Mrs. Stir-
ling and Mr. Leigh Murray.
As the objects become closer our arrangement may be
less defined. The most prominent works during a period
of rather more than four years have been, Mr. Barnett's
Serious Family, which, though an adaptation from the
French, is a stock English piece, Mr. Jerrold's Catspaw,
Miss Vandenhoff's Woman's Heart, Mr. Mark Lemon's
Mind your own Business, Messrs. Taylor and Reade's
Masks and Faces, and Sir E. B. Lytton's Not so Bad as we
Seem, which brings us down to the present day.
In the above recapitulation we have omitted all reference
to those pieces which belong to the lighter class of enter-
tainment, but which, nevertheless, have always flourished
at the Haymarket. Our objet'; has been, not to give a
complete or even an abridged chronicle, but merely to fur-
nish a series of steppingstones for the memory, that the
London playgoer may be facilitated in estimating Mr.
Webster's exertions in the cause of the drama.

MR. WOODIN'S CARPET BAG AND SKETCH
BOOK.

This talented gentleman has, after a successful season at
the Lowther-arcade, removed the arena of his performance
to the " Salle," to which Robin has given his name. We
have already had occasion to notice in terms of praise the
mimic powers and the amusing personations displayed in
this entertainment. Mr. Woodin has followed the same
track as the late Mr. Charles Matthews, and has acquired
a reputation seldom attained by an unknown candidate for
public favour in so short a time ; for before his appearance
at the Gallery, in the Lowther-arcade, his name, we be-
lieve, was quite unknown to the public. Mr. Woodin's
entertainment consists in the personation of various cha-
racters, among which he includes the principal actors of
the day, with a fidelity really curious. With the eyes
closed it would be difficult to imagine that we were not
actually listening to Buckstone, Compton, Harley, or
Wright. An imitation of Mr. Albert Smith, in which
that gentleman's personal appearance, manner, and voice
are hit off with wonderful fidelity, has an izresistibly comic
effect. No less remarkable is an imitation of Mr.
Henry Russell's style of singing, which, notwithstand-
ing Mr. Woodin's limited vocal power, is done in a manner
which delights the audience, the former tenant of the room
is also introduced, and we have before us M. Robin's
second self, appearance, manner, voice, are perfect, and
the celebrated disappearance" trick is performed amid a
tumult of applause. In displaying the conventional inci-
dents and humours of domestic life, Mr. Woodin possesses
considerable skill, and it is to be regretted that some of his
full length portraits are too much caricatured ; such is the
case with the Yankee gentleman, and Mr. Sandy Mac
Whittle. The rapidity with which the changes of dress,
and even of personal appearance is effected, is remarkable,
and few people after seeing it, would be willing at any time
to swear to Mr. Woodin's identity. Good, however, as
the entertainment is, we hope at some future period to see
Mr. Woodin shine to even greater advantage. To the
present entertainment, however, we cannot award any
very great praise. It is very much laboured, and the puns
are introduced with a rapidity almost painful. Mr. Woodin
to insure success, has no necessity to resort to desperate
dislocations of words and exaggerated caricatures. His
own wonderful mimetic powers are quite competent to
secure that end, and we hope to have to record his triumph
in a more ably written entertainment.

NATIONAL INSTITUTION, PORTLAND
GALLERY, REGENT-STREET.

• This exhibition of oil paintings was on Saturday opened
for private inspection, and during the day was visited by a
numerous and fashionable company. The institution was
founded six years ago in consequence of the want of space
for exhibition at the Royal Academy, and we are glad to
have observed that the display.of pictures has annually in-
creased in number and advanced in merit. I. The exhibition
of this year is certainly superior to that of last, although
there are, fewer subject pictures. From the rapid view of
Saturdays. we are only able to notice a few of the pictures
whicha s
b more particularly struck us. Among several land-
:ttirecyroßssirnglinlme, all of considerable merit, a view of
a pool (No. 269), the joint produc-
tion of this artist and Mr. Willis, is the most
noticeable, the landscape and background are painted with
great vigour and depth, and the drawing and modelling of
the cattle is all that could be desired. In the same room
a picture by Mr. Glass, " Late for the Ferry" (239), possesses
considerable merit, the figures are skilfully grouped and.
masterly drawn, while the effect of light and shade is cle-
verly managed. A foreign artist, Mr. Provis, contributes
some admirable little pictures. " The Village Smithy"
(No. 276), is a masterpiece. " A View of Nottingham," by
Mr. Dawson (No. 220), is a gem of landscape painting.
Mr. E. Williams contributes a very fine pictuie, " The
Gipsy's Return" (No. 191). The figures and land-
scape are well and carefully painted, and a powerful
effect of light is produced. A view of " Flyn T cwm
ynnon" (No. 171) by Mr. Perry, is a well painted
and effective picture. Immediately above this hangs a
pretty adaptation of the French proverb, " Ce n'est que le
premier pas qui coute," by Mr. Pittar. Two nymphs are
represented on the brink of a river about to bathe ;
the figures are well drawn and modelled, and the
colouring is natural and life-like. Another painting by
the same artist, " Don Juan and Haydee," shows
artistic merit. A picture, entitled " Young Love ""
(No. 302), by Mr. Helmsley, is an excessively clever and_o..
pretty little piece. Mr. Lauder exhibits a pietralt;itLde
" Hope" (No. 177), painted with great care an
background, however, is a little hard in its colouring.
Mr. Rolfe's " Meeting on the Banks of the Thames " (No.
294), shows several of the finny tribe painted with great
fidelity. "An Incident in the Life of Luther" (Ni?. 23),te
by W.. F. Wylard, one of the few subject-pictures
room, is well composed and effectively. pain the
same may be said of "A Monklnstructing),tAheFrsruinittphieeoA:t,
of Illumination" (No. 33), by Mr. Deane..t,
but its colouring
(No. 105), by W. Duffield, posusses
Jme
Belln exhibits a clever
is, perhaps, rather too gaudy. Mr.
landscape, " The Village of Benny y Coed"
to
future
N of.43ur.e
)
Pressure on our space compels us to defer
occasion our notice of other works of merit in this exhibi-
tion, and we shall therefore conclude the present one by
remarking that a lover of the fine arts may spend an hour
or two very agreeably in the Portland Gallery.
•