The Sun.
London, England, 1836-01-29 00:00:00

COVENT GARDEN THEATRE.

Venice Preserved was played on Wednesday—Mr. C. Kemble,
affier ; Osbaldiston, Pierre ; and Miss Helen Faucit, Belvidera.
The house was crowded to the ceiling, and demonstrated its appro-
bation of the performance in every possible way, both during it,
and after its conclusion. In fact, it merited all it received, for an
admirable tragedy was as admirably acted. We make no excep-
tion, for it is hardly worth while to do so; we have certainly seen
better Pierres than Osbaldiston's, but h' ic to be looked upon as a
first appearance ; no doubt it is so, as tar as regards a London
audience ; and, considering it in that light, he deserves great
credit for the attempt. It was much better than respectable;
and better for this reason, that he rather under-acted than over-
acted the part. There is plenty of room for rant and declama-
tion in the character of Pierre; Osbaldiston comes from a
theatre where rant and declamation are at a premium, and
that he did not avail himself of the opportunities, but rather
chose to subdue and controul his powers, is a proof of forbear-
ance and strength of mind that give good promise for the fu-
ture. It will be very easy for him hereafter to heighten the tone
of colour, and increase the contrasts of light and shade. We
exceedingly dislike his first dress ; it is not only unbecoming,
but approaching vulgarity. It had little of a military look
about it ; and he should recollect that Pierre is a gallant sol-
dier, and ought to have a corresponding exterior. The vul-
garity of his dress communicated something of a vulgar air to
his whole performance, with the assistance of an unbecoming
pair of whiskers, and no mustachioes. There was a great deal
in his acting to praise, and little to blame that may not be reme-
died in a night or two. C. Kemble's Jaffier was a most power-
ful and finished performance ; the work of a great artist ; an
artist with the true feeling of his art. In one instance only art
was uppermost; it was in the fourth act where he flung away the
dagger with which he had threatened the life of Belvidera. Jaf-
fier would not have cared if it had gone through a mirror from the
ground to the ceiling : but C. Kemble, before he threw it from
him, cast a look at the wing, to be sure that he made it go off the
stage. This smelt of the coulisses, and showed the habitual actor.
The audience was justly delighted by all the great passages with
which our readers are so well acquainted that we need not even al-
lude to them. It has been said that Pierre is the better and more
taking part, and that a moderate Pierre can out-act a good Jaf-
fier; he may, perhaps, be able to out-act a good Jaffier, but not a
great Jaffier, and that unquestionably Charles Kemble is. The
truth is, that whatever character a great actor undertakes, he will
make the most prominent while it is before the house. We might
almost say that if C. Kercble were to bring in only a letter he
would fix the attention of the audience.
We have ungallantly postponed our notice of Miss Helen Faucit
because we have most to say regarding her. For the last two years
her friends have been talking about her Belvidera; and, before she
came out in The Hunchback, we feared for the consequences of
injudicious and preliminary praises. In Julia she certainly exceeded
our expectations, and in Belvidera, which is a part of a higher
grade, she has risen still higher in our estimation. What we mainly
and most of all like in Miss Helen Faucit is the fearlessness with
which she throws herself into the passion of the part ; she plunges
into it at once like the diver in Schiller's ballad ; she trusts to that
and to her own power of depicting it ; shd has faith in the poet and
in herself ; she relies upon human nature and its capabilities, and
she does not care a straw about making unbecoming or even what
might be called ugly faces, if by an ugly face she can accomplish
what she wishes better than by a pretty one. Her features in re-
pose have a beautiful tranquil expression, which must of course dis-
appear in the storm of passion. The contrast is like that of the
ocean lulled by zephyrs or lashed to fury by winds. Looking at the
calm sea who could dream that in a few hours it could be wrought
to such limitless turmoil ; and looking at the calm expression of Miss
H. Faucit's countenance, one would hardly suppose it capable of
such powerful and varied character. In the two first acts Belvi-
dera has comparatively little to do ; Pierre and Jaffier engross the
eye and ear ; but in the third act she comes out, and never recedes
excepting in the scene before the senate. In all the great situa-
tions and passages of the three last acts she very nearly came up to
any of her predecessors of late years. Her fondness was more inviting
and engaging than that of Miss Kemble,who alwayskept her lovers,
as it were, at arm's length, and thus threw a wet blanket upon every
thing like warmth and passion. It is to be recollected, how-
ever, that she was sometimes unfortunate in the representatives of
her lovers ; but there was a general coldness about her that chilled
those who came most in contact. This is not the case with Miss
H. Faucit, although we are a little afraid that she will become
somewhat monotonous in the delivery of passages of mere fondness
and affection. At present she has a tendency of the kind, and it
may increase. Some points will hereafter tell better than on a first
appearance ; for instance, she was too hurried in the delivery of the
words, " Now, then, kill me !" and they were partly lost in the
bosom of Jaffier. Another point we will venture to mention : the
description of the " waves, buzzing and booming round my sinking
head," are intended to contrast with those that immediately follow,
Till I descended to the peaceful botttom—oh ! there all's quiet,"
&.c. This opposition Miss H. Faucit did not sufficiently mark, but
nothing could be much finer than the conclusion of this brief soli-
loquy, and the actress gave herself up to it with utter recklessness
of every thing but giving way to the passion by which Belvidera is
impelled. The scene in which the heroine wanders about dis-
traught, and finally expires, was most sweetly and touchingly
played ; and we hardly think that Miss O'Neill went beyond it.
On the whole Miss H. Faucit has proved herself equal to one of
the noblest and ablest tragic parts ; and has shown that her
strength, which we were at first disposed, perhaps, triflingly to
under-rate, has increased in proportion to the demand upon it.
Thus acted, we have no doubt that Venice Preserved will hare
a new and highly profitable run. At the fall of the curtain (as Mr.
Thompson could not obtain a hearing), C. Kemble gave it out for
repetition amidst a tumult of applause ; and when Miss H. Faucit
afterwards came forward, obedient to a universal call, the whole
house rose—pit, boxes, and galleries, and evinced the most un-
qualified satisfaction.