The Sun.
London, England, 1838-01-09 00:00:00

(From the Timm)

After a long and very successful probation in the provinces, Mr.
Chas. Kean last night again appeared on those boards where, a few years
since, when a mere boy, he endeavoured to conciliate public favour.
That was an immature and ill-juiged attempt, and, as might be ex-
pected, was a failure. The mind of the play-going public was still filled
with a vivid recollection of the transcendant talents of the elder Kean,
who'had temporarily retired, and, however kind their feelings might be
towards the young aspirant, they could not avoid showing their discon.
tent at the incapacity of the nominis umbra, who thus early sought,

or more probably perhaps was solicited, to vault from the school-room
into the then vacant tragic chair. Defeated, in this instance, he did
not abandon the profession. He laboured to improve himself, and sub-
sequently appeared at Covent-garden and the Haymarket. At each of

these theatres his exertions effected nothing for the manager in the
way of money—nothing for the actor in the way of fame. Still he was
not disheartened. A long course in the provinces, he thought, would
do him service. If he succeeded there, lie felt that much of the trepi.
dation and awe which before a London audience in a great degree
paralyzed his powers would be removed, and that he would have a fair
and honest hold of the feelings of those who came in a just and honest
spirit to w;tness his performance. We like these strugglings against
untoward circumstances. They bespeak the workings of a deter-
mined mind, which thinks, however the world may have been in-
clined to slight it, that there is within itself germs, not merely of ta-
lent but of genius. Thus much for the early efforts of Mr. Charles
Lean ; now for what we may call the real debut, when experience and
judgment have come to the aid of his natural facuities, and made him,
in one character, certainly, that of Hamlet, an accomplished, elegant,
and when the scene requires it, an energetic actor, without bombast.
Such, we think, were the characteristics of his performance last nigl.t.
He has taken a fine philosophical view of she character. The ground.
Work is melancholy abstraction, sometimes diverted from its vein by the
recollection of circumstances which elicit passion, or by the interference
of Court.flies, who sting a gallant nature to sarcasm and reproach, by
their sinister actions. The sombre hue of the character was well pre-
served by Mr. Kean ; and those occasional bursts of tearful passion
which are elicited by Hamlet's knowledge of his father's fate, and his
own irresolution in not at once doing execution on the murderer, were
finely contrasted with his general melancholy. Mr. Kean delivered the
soliloquies with great feeling, and consequently with great effect. We
look, however, for his excellences in the more active scenes of the play.
His rencontre with his father's spirit, whereastonishment, awe, and reve-
rence were commingled, was finely acted. The celebrated scene with
Ophelia was well-imagined, and was as well placed before the audience.
Here Mr. Kean was wholly different from any person we have ever be-
fore seen in the character. There was enough of violence in his man-
ner to justify the grossly-lascivious king in saying—
" Love 1 his affections do not that way attend;"
but these was also enough of tenderness and delicacy to show to ten-
derer and more delicate minds that his vary heart-strings were break-
ing, while in his assumed frenzy he was saying unkind things to one
whom he entirely loved. The closet-scene with his mother was acted
with great power. His attitude and look, when, having slain Palo.
nius, he rustles in exclaiming, " Is it the King ?" filly deserved the
immense applause which followed one of the most striking scenic ex-
hibitions which we have witnessed fur a long time. In the play-scene
Mr. Kean was good ; but though at the conclusion he received much
applause, there was less marking about it, less force, less power thau
we have seen exhibited by others. His concluding scene was good. He
fences not merely gracefully, but skilfully. We need not say that
the house was oa this occasion crowded from the pit to the ceiling.
The jury before whom Mr. Kean appeared was not a packed one
There was no indiscriminate applause ; assuredly, where applause was
given, and the instances were very freqeent, It was well merited. Look-
ing to the whole of Mr. Kean's performance, we were greatly pleased
with it. It may, howeyer, be rendered even better. His pauses are
in man instances, so long that he fails to make the point at which he
is aiming. Again, he carries the weeping sentimentality of Hamlet
into situations where be is a mere abstract speculator. The beautiful
Ines commencing
" Imperious Caesar dead,-and turned to clay"
do not want tears to enforce their moral—the Nothingness of defunct
mortality. Mr. Kean's reception was of the most cheering description.
When he appeared, the applause from every part of the house was en-
th and throughout the evening the same anxious wish to en-
courage us
e hope, now no longer struggling) merit, was observable. At
the conclusion of the tragedy, he was loudly called for—and he made,
very gracefully, his obeisances, to a much-delighted audience. He cer-
tainly has succeeded in giving a very elegant and finished portrait of
Hamlet—what he will do with the Richards and Macbeths is yet to be
ias t i c; ( w
proved. That he has mind for them, we can imagine—but, as yet, we
cannot speak with anything like decision of his physical powers. Mrs.
Ternan's Gertrude deserves a very favourable notice. She was sensible,
in every part of her performance; but, in the closet scene, where, to
her, Hamlet seems to address the incorporeal air, she evinced much
ability. Mr. Dowton's Polonius was correct, the text was given arm.
rattly, but the humour was suffered wholly to evaporate. Mr. King
played Laertcs. When the late Mr. Kemble was asked what he thonght
of Mr. Conway, he answered, " Why, I think that he is d very tall
young man;" and precisely the same criticism will do for Mr.
King. Mr. Brindal, as Osrick, was sufficiently gay and foppish.
How is it that this very good representative of light pleasant
parts is so often obliged to attempt the sentimental? Mr. Cooper, who
appeared as the ghost of Hamlet's father, read the part well. Ophelia,
the pretty, the gentle, the delicate, was personated by Mi,s Romer. She
sang the unhappy maiden's snatches of old ballads in a bravura style,
with more of show than nature. We had nearly forgotten, and it would
have been unjust if we had, the representative of the first grave digger,
Mr. Compton. lie sustained she character exceedingly well. He has
studied his art, and the easy quiet way in which lie says and dues every
thing, seems to insinuate to the audience, almost in an audible chuckle,
" I know what I'm about." It is rigl.t that we should particularly no.
ice the care that has been taken in getting up this tragedy. It is shame-
ful that while thousands are thrown away on the ornaments and deco-
rations of a paltry French melodrame, the works of Shakespeare hare
hardly ever been honoured with a new stress, or a new scene. There
has, in this instance, been a most liberal outlay on scenery, dresses, and
decorations. Of the scenery we would particularly speak. The open-
ing scene, the fortress of Elsinore, the Queen's Chamber, and the an-
cient burying ground, where the funeral of Ophelia takes place, are
most pleasing specimens of scenic painting, and infinitely creditable to
the artists, the Messrs. Grieve.

(From the Morning Herald.)
Last night Mr. Charles Kean comtneuced his engagement at this
'theatre under the most gratifying and encouraging circumstances. An.
audience, quite equal to any that could be drawn on a command night,
and crowding every corner of thehonse, was, in itself, a tacit compli-
met:t to him, of the most significant and substantial kind, and the re-
ception with which it welcomed him, seemed, in enthusiasm, propor_
tioncd to 'its numeric magnitude. On his appearance simultane:nis
shouts of eager applause burst from every part of the Theatre, and con-
tinued to peal for at least five minutes, hands, hats, and kerchiefs, ac-
companying than with their relative manifestations, making up, in one
word, such a greeting as is reserved for special individuals and special
occasions alone. All that was felt due to the -memory of the father, and
the merits both known and anticipated of the son, was poured forth on
the occasion. Mr. Keats seemed, as was natural, much airec:ed by this
extreme kindness, and acknowledged it by silent gestures, equally mo-
dest and expressive.

Hamlet • was judiciously chosen by him for this trial ; the part is
made for. young tragedians, at the same time that it is the most severe
touchstone of their qualificatiens. It is in vain that the veteran indi-
cates its delicacies and enforces its most potential situations—in the ab-
sence of
youthful visage and figure the result appears anomalous, and
mustbe, riot e. or less, ineffective. Mr. '-lean is much changed since his
e,
last appearance in London. He in every respect gives indications
of the advances of maturity. His countenance is more marked in
all its features than it was—his figure is mere set, and his style
of art more characterized with permanence and consistency. He
is, in every respect, what he premised to prove, his lather's son—a Kean
in all but the divine energy,of perfect originality, and a soul of unten,
Pared fire. In saying this w 9 have not the slightest intention to throw
a shadow over his merits. lie is no imitator. He strongly resembles
his father in appearance; his physical construction is undoubtedly
much the same; his ample forehead indicates no common intellect, and
hence he may
be fairly supposed born to similar tendencies of imagina-
tion and similar modes of giving them expression. He is highly aecom.
plished now in the practice of his profession ; his action is varied,quick,
spirited, and at times classically graceful. lie inherits much of that de-
licate, distinct, and melodious enunciation, which so peculiarly distin-
guished his greater prototype. His Hamlet was, on the whe7e, an tr:-
mirable performancr, feeling, vigorous, and well understood. In its
first
phase, piteously despondent and p,iplexed ; in its second, assured
and not assured, raging, yet feeble ; and in its third, unnaturally apa-
thetic of the past, morbidly and sardonic dly meditative until the final
scene. In the soliloquies, that fine enunciation to which we have
alluded, combined as it was with thorough impassioned expression,
proved !nest effective ; and, indeed, in all the great scenes with
the Ghost, with (aphelia, and with the Queen, Mr. Kean was
greatly successful, and clic:ted frequent and ardent bursts of ap-
plause. His death scene was one of the best that this
stage has witnessed, and was quite his own. He represented a
s!ow and gradual severance of soul and body, with a touching truth.
fulness which few can attempt without disgusting their audience.
If we cannot speak more minutely on this occasion of the merits 05
this masterly performance, it is because the indifferent place we cold:.
secure in the thronged theatre interfered most untowardly with our ob-
seivation. That circumstance must also curb some faint strictures winch
occurred to us in the course of the evening. We would venture, how-
ever to suggest, that in the first ghost scene, Mr. Kean scarcely ex-
pressed that utter intensity of feeling, half delirium, which the &tux ion
would naturally wring from Hamlet. In the second stage of the plot,
is it quite judicious to give up the disarrangement of dress, to which
Ophalia alludes, and which well betokens the abrupt, real, or feigned
alienation of his wits ? In the last act does he not become somewhat
too sound of intellect again—too seriously philosophical, and should not

the ri.ymes " Imperious Cwsar dead and turned to clay, &c., as well as
the sub equent, " Let Hetcutes himself do what he may,' &c., be given
with some smadh OC the "antic disposition" of which Hamlet fore-
c.'artietl Ildratio ? ronarks, however, even if well founded, detract
but triflingly from that general of :%It, Keast's performance
hWla feiv Will refuse to concede. In respect td his 0c,,,,as with the
Ghost, 0.6 nitist 9ilY Nat Mr. Coorrr was never intentie.: .‘r a to,,st •
and should snake a very special blab,' of things eternal before he (....7`ulti
harrow up any mortal soul. He spea.ks with tslt the inflections of or-
dinary speech, and may be surmised, has no fill° grave tore
in its whole compass. Mr. K,an must have sadly felt the want of a
properly blood-freezing spirit. The play was cast much in its usual
calibre—Dowton being the Polonius, Miss Romer appeased as 0: helia,
and, in her singing at least, proved cfficien,. Mr. King played Leertes,
and Mrs. Tertian the Queen, At the full of the curtain there was an
unanimous cad: for Mr. Khans and upon his appearance before the cur-
tain all stood up, and all the enthusiasm of his reception was repeated,
if possible, with increased zeal. Islever has a young actor received
greater encouragement, and few, we believe, sell pftwe themselves snore
worthy of the distinction than the individual to whom it was thus of.
fered. Such houses at that of last night will, no doubt, be fur some
time familiar to the walls of ntury,

(From the Morning Past.)
The old tittles Of Drury seemed last night to hdCe entre back again.
.N.:.ver, in its most palmy ci3:i v did we witness a greater crowd—never
more enthusiasm in an audience—and .carcely ever more success in a
performance. It was gratifying to witness atl4se more such a house as-
sembled, to delight themselves with one of Shakspeafes plays, and that
the play of Hamlet, the most refined, perhaps, and most frasching of
them all. The house was crowded to the roof, and gave Mr. Charles
Kean fi Vial'm a reception as it is possiiiiii So imagine that an actor
could receive. He might well say, as his father diet hefore him, that
"the pit rose at him." BUS it was not the pit alone, httt the whole
house which rose, and by acclarnatlOns loud and long-continued, by
waving of ha's and handkerchiefs, and by el'ary other possible demon.
stration of welcome, testified their gladness to see Mr. Kean, or (as
his Irish friends would say) to see his father's son. From the
beginning to the end, Mr. Kean's performance was brilliantly suc-
cessful. We never saw an audience which seemed better pleased,
and though we do not hold this as by any means an infallible
criterion of an actor's merit it is one upon which much dependence
may generally be placed ; and in the present case we think the
decisive judgment of the audience was well borne out. We do
not think indeed that the performance of Mr. Kean was without fault,
or that all the parts of it which brought down great applause were en-
titled to the praise of the considerate and judicious; but, as a whole, the
performance was striking, energetic, skilful, and undefinmed by any
such marked blemish as would mar this general impression in the mind
even in the most fastidious. Our readers are aware that there are two
styles of performing Hamlet, which, like the two great divisions in the
modern French literature of fiction, may be called the classic and the ro-
mantic. With n the memory of present audiences the late Mr. Kean
was the most prominent representative of the romantic style; and the
late actor--but, we are happy to say, the still_living private gentleman
—Mr. Young was the most distinguished professor of the classic style. We
shall now not enter upon the controversy as to which of the two general
modes of performance ought to be preferred ; bOth have undoubtedly
their excelences, and both their defects. An even uniform perform.
ance, however well considered, however dignified in its energy and
delicate hi its pathos, may be said to be scarcely applicable to one whom
Shakspeare certainly intended should exhibit strong contrasts.
" This is mere madness,
And thus awhile the fit will work on him.
Anon, as patient as the female dove,
When that her golden pinions arc disclosed,

His silence will sit drooping."
On the other hand, the imagination of most readers of sensibility has
been so apt to associate the character of Hamlet with melancholy medi.
tation, that persons of a pensive temperament are almost offended at any
departure from the serious dignity and philosophic sorrow which are the
pervading characteristics of Hamlet. He is the man so weary of the
world and its sin that he wishes he were dead—who looks upon all the
uses of this world as weary, stale, flat, and unprofitable. In this key is
the character pitched ; and however airy, fantastical, satirical may be its
occasional flights, to this deep note of melancholy does it ever return,
and we feel that he has that within of killing grief "which passeth
show." Of Mr. Charles Kcan's performance we should sly that he
tries to combine the two styles of performance to which we have
alluded; but he is an hereditary actor, and his nature leads him to the
romantic. That style manifestly preponderates. He has evidently
studied much, as well as gained much experience, since he last appeared
in London, and the result has been remarkable improvement. In height,
in gait, in expression of countenance, and, especially in voice, he is re.
markably like his father. We should not say that the features of his
face are like his father's, or so good; but the shape of the forehead is
the same—the piercing dark eye is the same—and, above all, the voice,
husky in its energy, and soft, distinct, and clear in its lower and
m'rre subdued tones—is exactly that of his father. There were
many passages—not those, we confess, which we liked best—in which
the mannerism of the old favourite was so vividly brought
to mind that the house rang again with applause. Indeed, it struck us
occasionally that the audience were determined to enjoy two poets on
one evening—that Rogers as well as Shakspeare had something to do
with their delight—and that " The Pleasures of Memory," as well as
" Hamlet, Prince of Denmark," occupied their attention, and contri-
buted to their satisfaction. We believe that, at the very commencement,
Mr. C. Kean was somewhat overwhelmed with the enthusiasm of his re-
ception, and the extreme slowness of his enunciation, together with a
certain tremulousness which may not have been intended, threw an ex-
pression of grief—almost sobbing grief—into his tirst speeches, that the
best interpreters of the character have not, we think, contemplated. He
speaks, indeed, of the "fruitful river in the eye'' as one of the shows
of grief to which the Queen had referred, but it is scarcely consistent
with his appearing in public at all that lie should then, while speaking,
be almost weeping too. Mr. Kean's soliloquies, though well delivered,
are not the happiest parts of his performance : and it was not until the
interview with Horatio, Marcellus, and Bernardo, in which the appear-
ance of the Ghost is related to him, that the spirit of the actor fully
showed itself: The

" In my mind's eye, Horatio,"
which was, indeed, most like Edmund Kean's manner of delivering that
passage, was lou:lly applauded ; and thenceforward, through all the
action of the play, similar applause was elicited. It struck us that
nothing could be more admirable than the conception of Mr. Kean's per-
formance when his companions find him out, after his interview with
the Ghost. He played it as if, whe❑ first speaking to them of secrecy,
he had intended to tell them all that he had heard, and with that inten-
tion begins— _

" There's ne'er a villain dwelling in all Denmark ;"

but then, suddenly remembering the prudence of keeping his own secret,
he turns it off with—

But he's an arrant knave "

Mr. Kean paused between these two lines, and delivered the second in
quite an altered tone. The third act is the great trial of a performer
of Hamlet, and Mr. Kean came well through that trial. Not that we
think the famous soliloquy, beginning. `• To be or not to be," was given
as well as Mr. Young used to give it, but from that forward the per.
formance throughout the act was admirable, unless we should except
what seemed to us a much too rapid delivery of that most Shaksperian
passage— .

. -
" I am myself indifferent honest, but yet I could accuse me of such
things that it were better my mother had not borne me. lam very
proud, revengeful, ambitious, with more offences at My beck than I
have thoughts to put them in, imagination to give them shape, or time
to act them in. What should such fellows as I do era sling between
earth and Heaven ? We are arrant knaves all—believe none of us."

This was hurried over with such rapidity that the quickest ear could
scarcely follow the words. But the speech to the players was given
with delightful case and naturalness. The intensity of eager watch.
fulness with which he regarded the King at the play, and • the exulta.
tion of conviction with which he leaped up as the King bursts away
conscience-struck, from the scene, were also most natural and vivid,
and the whole of the scene with his mother was a triumph of bold,
vigorous, judicious, and delicate acting. The voice of eager inquiry—
the attitude—the depth of eager expression with which, when rett.r.i.
ing from slaying Polonius behind the arras, he asks

" Is it the King ? "

was as successful as any piece of perform anoe we ever saw. In the
dying scene we thought there was rather a needless protraction of the
hideous pantomime of dissolution. Prince Hamlet died rather too
elaborately, especially as Mr. Kean had presently after to appear before
the curtain, to receive the renewed shouts of applause, and witness once
more all manner of encomiastic gesticulation. We learned after weleft
the theatre—we own, to our very great astonishment—that Mr. Kean
had certainly never sem his father play Hamlet. We should have con-
cluded from his performance that he must have seen his father play
the character often. Of the mac performers who assisted in Hamlet
(except Mr. Cooper, who delivered very distinctly the sp2eches of the
Ghost) we shall, in charity, say nothing. Had " the part of Hamlet"
been " left out" it would have been but a sorry performance indeed, so
Gar as the gentlemen were concerned. Mrs. Ternan played the Que, n
extremely well ;we have not seen it better played Mis, Romer's
Ophelia was well enough sung, but the charm of the characttr of
Ophelia—the wild wandering of her innocent whs—does not seem levet
to the apprehension of Miss Romer. Upon the whole, the performance
of last night at Drury-Lane was, in technical phrase, so decided a hit
that we apprehend few who ever go to a theatre at all will be satisfied
without seeing it, and we expect that the engagement of Mr. Kean will
be of the utmost advantage to the theatre.
. _ • (Froth the Morning Advertiser.)

. Last night, agreeably to announcement, the tragedy of Hamlct was
represented at this house,for the purpose of again introaucing Mr.
Charles Kean to the London boards, after an absence of five years.
The character in which he ma .e this renewed debut, so to express our.
.selyes, was the part from which this very celebrated and ever-tle,ightful
tragedy takes its name, Hamlet; and the erred, if rumour be correct,
(which, by the way, we are' disposed to doubt,) is the more creditable
and bold in Mr. C. Kean to have made, on this further trial, inasmuch
as it is one in which he never saw his father play. By such proceeding
he nobly threw himself on his own powers, only taking credit for the
skill in acting,from those general principles which he might hare derived
from his parent's observations, instructions, or example. The selection,
supposing the rumour to be correct, we therefore deem to be highly cre-
ditable, and fairly putting to the test his talents. With Mr. C. Kean's person
most play-going folks are now tolerably familiar. He hag loamy of his,
father's points or habits—sudden starts, rapid and abrupt action, and,
occasionally much energy of demeanour; he, moreover, frequently re-
minds one of the Miler's look ; and all these peculiarities make in
favour of the son, because that which might appear like imitation in
another, is not only pardonable, butprepossessing and very agreeable
in the successor of so original, intellectual, and spirit-stirring a sire.
But liberal as we feel disposed to be here of praise, we cannot award to
Mr. Charles Kean anything like his thther's fine profile and magniti.
cently intellectual countenance, rivett.ug all to their seats by the resist.
less manner with which he ever identified himself with each character,
and leaving the spectators no power to 'gee:Alan or examine the propriety
of the mastery he had gain ad
,until long after time curtain had dropped.
Still there are about' Mr. C. Kean, partictearly judging from last night's
representation of Hamlet, the materials of a very eminent
actor; and, we may add, that • his great, laborious, and various
exertions " in the provinces," as the phrase is, have very
much improved those qualities that characterized him when
last on the London boards. He evidently spares nothing that
work or study can accomplish ; well-judging that one good way to se-
cure success is to deserve it. He studies his author closely ; he seruti-
nizes his meaning, he is intrepid to an extent worthy of the first Kean,
he is Hamlet the Dane, perpl, xed certainly, always resolving, never do-
ing anything, but a a Priece seeking to. avenge his father's death,
and the robbery of a crowe—he never for a moment fargot the re-
quisites of the paasing scene, or the philesophic Hamlet of Sinks,
peare's na.tchl: Fs delineation. Ant these great merits, we mey he
say, having had the adrantaee of eceasimally seeing Mr. C. Kean ill
the" miivinces" namely at Bath, Itrightoa, arc., invaria'•ly dis'in
guish him, and have given us the hope that unccaing and caret,'
study, based upon the principles lie possesses, and the example b.l re
him, which the closer he hollows, the more he will be "applauded
to the echo," would secure for him high, if nit la,ting favour
with metropolitan, as well as other audiences. We have pre-
ferred, what may be termed a general sketch of Mr C. Kean's quali-
ties and recommendations on this re-appearance on the London boards ;
but, although we have no great faith in the effect of a first night's
result, when there appears so much excitemmt, an I do not like to
examine the performer so rigidly as if there were not the strong ex.
citement and pardonable partialities, and earnest and not always the
most discriminating plaudits, it would be unjust not to add to our
general remarks the expression of particular approbation of several
of Mr. C. Kean's scenes and points in his personation of Hamlet. We
would especially particularize the interview a ith the Ghost, which he,
managed admirably, powerfully depicting the regardlosness of cause.
quences, where he exclaimed that he cared not for the body's butt,
and as for the soul he was indifrerent, it being " immortal" the
Ghost could not affact that. This, perhaps, was his most
conspicuous point ;—it was most powerfully • given, well con-
ceived, and still better wrought out. It was loudly applauded.

He also, afterwards, adroitly conceale I from his companions
Ghost's revelations; the scene d'salayed 111. eeor's skill. The inter.
view with the Que_n (Mrs. Ternan, for nerly Miss Jarman) was most
efficiently acted—his own soul being wrung with anguish while strik-
ing terror into the bosom of his hapless mother—it was a brilliant
succession of the great ability and success evince', by h'.in in the play
seene. The church-yard scene had about it excellent points and sell.
Bible reading; but the memory of his father's great success here forcibly
obtruded itself on the mind. We recollected present merit—but there
was no: oblivion of the past; the scene, however, passed off well, and
deserved the ri,ulause it experienced. The fencing scene was good and
accomplished. Thd Close of his performance was greeted with
tremendous applause, in Foxes, pit, and galleries, signified by the
clapping of hands, waving of handkerchiefs, flourishing of hats,
and loud exclamations of " bravo, bravo." It lasted for many
minutes. He was vociferously called for. He came forward
and respectfully and feelingly bowed, and i'eas again honoured with
tempestuous plaudits. Of the other performers is not requiWe here
to say much, nor will it be deemed neglectful of t.',eir merits to pass
them over, when speaking of a reappearance on the eases.. that, of
course, attracting the chief, if not exclusive, attention ; but we cannot
close without recording that the " gentle Ophelia" found be Miss
Homer a very delightful representative, whether we refer to the prela-
minary scenes, or to those bewitching snatches of songs with which she
imparts so much interest about her Lroken heart and bereaved state of
mind, and touches most sensitively every sympathy among her be.
holders. They were exquisitely managed ; with delightfail taste,
with the greatest ease, or rather in the most natural manner,
and with pathos of the highest order. We have not recently
seen Ophelia to so much advantage. Well did the performance
deserve the marked applause with which it was greeted. There
Was much new, admirable, efficient, and magnificent scenery by
Messrs. Grieve, of the platform of the Castle by moonlight, &c., which,
though we hare not the time specially to notice, we cannot omit to ap-
plaud, nor to mention the loud greetings of approbation with which its
merits were justly recognised by the audience. Previously to the rising
of the curtain, the house was immensely crowded ; so much so, in-
deed, as somewhat to remind us of olden times, when, in the late Mr.
Kean's high and palmy days, there were immense assemblages of per.
sons across the streets, long before the opening of the doors. Last
night, every part of the house was well filled immediately after the
opening of the doors, and so continued.
(ANOTHER ACCOUNT.)
We have inserted the above report ; but we differ with it in many re-
spects. The appearance and reception of young Kean are matters of
theatrical history. We have never seen anything, in the whole course of
our theatrical experience, more splendid than the reception, or more sa-
tisfactory in the completion. Mr. Charles Kean fails in one main
point, in which his father excelled all actors that we have ever seen—
we mean the soliloquies—but, on the other hand, he is as superior in
every other point, not only to his father, who did not like the pet, but
to all the representatives of Hamlet that have ever come under our
observation, as Hyperion to a Satyr. Shakspeare's Hamlet lives in the
personificatian of Mr. Charles Kean, and of no one else that we have
ever seer. What lie may lay before the public in another character
we know not; but we state it distinctly, not as our own judgment only,
but as that of many others equally competent, that a more brilliant per.
formance—amore original performance—never met the eyes of a Drury_
lane audience than that of the son of the immortal XS'an, whom no one
living can forget. To conclude—young Kean is the Doty representa-
tive or Hamlet we have ever seen ; and those who doubt our judgment
had better go to the theatre and judge for themselves. The spirit and
tone of the father are in him ; but there is not an atom of ineitatiun•