The Sun.
London, England, 1840-01-23 00:00:00

DRU LY-L THEATRE

A new tragedy, entitled " Mary Stuart," was brought
out last night at this theatre. The plot treads tolera-
bly closely on the heels of history, and is something to
the following effect. David Rizzio, the favourite com-
panion of the Queen of Scotland, Mary Stuart (Mrs.
Warner), has rendered himself obnoxious to the lead-
ing aristocratic party in that country, who accordingly
vow to effect his ruin. While consulting together
as to the best means of effecting their pur-
pose, news is brought them that Lord Ruth-
enad,oEarlok upof as
Morton their
to rouse him
into energy. For some time he is unsuccessful, till at
whichiediehaevours
(Bennet)Aiisa el
at
acdtnY hastens home,
mwo,bnoamn and et
last he alludes to the probable despotism of the Italian
minion Rizzio, on which Ruthven bursts out into one
of those hearty fits of passion, where the whole
soul speaks out with terrible emphasis, in
which we conceive Maer,ady's chief excellence
to lie. From this rtranent Morton feels se-
cure of his man, and hastens to acquaint his confede-
rates with his success. Meantime, the Queen herself
has precipitated the course of events, for on occasion
of an embassy arriving from England, when her hus-
band, Darnley (Phelps), Rizzio, and the chief conspira-
tors are present in the Council-room, she is infatuated
enough to side with her Italian favourite, and defend
him warmly against the taunts of the indignant Scottish
Nobles. On the embassy being dismissed, the
Council breaks up, but as the conspirators are
retiring, they encounter Rizzio, on whom Lord
Douglas (Howe) fastens a quarrel. In self-
defence, but not until he is goaded by repeated insults,
the Italian draws his sword ; and this enables Darnley
to accuse him of contumacy, and put him on his trial.
While he is defending himself, the Queen enters, and
here ensues one of the most effective scenes in the
play. The musician is accused of sorcery, of syco-
phancy, and—what the Nobles evidently conceive to
be his worst crime—of low birth. On this he
breaks out into an impassioned eulogy on the glories of
ancient Rome—of that Rome where he was bred..
He asks, in a fine strsin of classical enthusiiam,
which went to the hearts of the audience, if it was
disgraceful to be an inhabitant of that country, which
in the olden time had produced the Caesars, a Cicero
and a Horace, and which, in later days, had
lighted the torch of freedom and intelligence in be-
nighted Europe. This burst of generous sensi-
bility is of course lost on his hearers ; but it
makes a stirring appeal to the Queen's more re,.
fined spirit, and she accordingly pronounces him frae.
Thus the conspirators arc baffled tor a time, but 'they
soon resume their manceuvres, and headed, as hefisre by
Lord Ruthven, insist on Darnley's signing a paper,
wherein he agrees in the justice of Rizzio'r. murder.
This, with some hesitation—and here the author draws
from history, which he hss followed admirably in this
repulsive character—Darnley is induced to sign, when
the play hastens to a denouement. The Queen invites
the Italian to her private apartment, where he " dis-
courses excellent music" to her, but is surprised at the
close of his performance by the sudden entrance of
Ruthven, armed in complete steel—why or wherefore
we cannot tell, unless to produce an effect—accompa-
nied by the rest of the conspirators. Here Mac-
ready's perfect acquaintance with stage tactics
tells admirably. His attitude, as he calls on
Rizzio, who is crouching by the Queen's side, to
" come forth," is strikingly dignified, without being at
all exaggerated, and gives us some ides, of what John Kern-
ble was in his loftiest characters. The sequel is soon told.
Rizzio is murdered—in the midst of a thunder storm, a
poor melodramatic device, unworthy of the author—
and Ruthven dies immediately afterwards, but not be-
fore he has made several speeches which had far better
have been omitted. He tell us he has "no stretsgtl,
for dying ;" nevertheless, he indulges us with diver s
bits of declamation, about " the nadir," &c., which
prove that his lungs are in excellent conditir,n even
at the moment of his departure. Such is, a slight
sketch of the chief incidents of this 'play. We
make no mention of the daughter (Miss Montague) of
Ruthven, for she has little to do, and her comings-in
and goings out rather retard than accelerate the pro-
gress of the catastrophe.
The characters of the play are all in outline.
Ruthven is the only strongly defined one, and even he
wants individuality. As for the Queen, and her para-
mour, we care little about them. We neither sympa-
thize with their distresses nor exult in their attach-
ment, for the author has very inconsiderately—and
assuredly very superfluously—made the Queers*
indirectly acknowledge her love for Rizzio.,
and thereby deprived her character of that moral
interest with which otherwise he might haw' invested it.
Why not have grounded her partiality Par the Italiaroon
the fact of his being a more refined and intelligent com-
panion than the semi-barbarous Nobles of her own
country ? This would have been an ample apology for
her preference, and would have got rid of those very
equivocal speeches which she addresses to her husband,
on behalf of her paramour. Nor would this have been
any gross violation of history ; for be it ever borne in
mind that that episode in the Scottish annals which
treats of Rizzio, has been drawn up from documents I
furnished by his bitterest enemies. lie may have been
imprudent ; we are yet to learn--notwithstanding the
broad insinuations of history—aim he was guilty,
Macready's Ruthven was played with judgment, and
occasionally with deep feeling. His interview with the
vacillating Darnley when he prevails on him to sign
Rizzio's death warrant, was a most effective bit e,S
acting, and gave a dignity to the most por-
sonal and envenomed sarcasm, of which satire is
not often susceptible. He should, however,
have taken less time in dying. An actor should. never
permit his audience to become impatient for 'ais exit.
Mrs. Warner is an effective performer in parts that re-
quire a display of masculine energy, but she is not Mary
Stuart. She lacks the softness—the refinement—the '
courteous address, concealing vehement feelings, that
characterised the unfortunate Queen of Scotland. Miss
Montague played a subordinate part, with skill and
propriety. We shall be glad to see more of this pro-
mising young lady.
When we say that " Mary Stuart" was highly suc-
cessful, notwithstanding some few drawbacks to which
we have briefly alluded, we say no more than is strictly
and literally the fact. But it depends for its success
on its incidents, which are adroitly strung togetlyer,
rather than on its characters. We care for few of the
theeiow rai
asyvsvh, e
sfa
.01
waves,
nev
badtoeursaf
etosopofeswe;►
ErP
dramatis persona, individually speaking, but thssy are
instrumental in the e',.,nsummation of a cat'astroophe, in
which we take a strong interest from the re-
collections of our childhood ; for to whom is
not the narlre of " Rizzio" as feaniliar as that of
Robinson es':,soe ? Again, the incidents are not un-
duly dwelc on, but trundle lightly and smoothly on.
We slsould be glad, however, to knew why it is that a
l'frang lady who is in excellent health in one act, is re-
presented as dying in the next ; and by what process of
logic she is induced to play the part of a spy, having
previously expressed a most virtuous abhorrence of that
office ? The language of the play is uniformly felicitous,
iogelflneougnrsruotiotrifdsna
gradual
ihornlupegtopi
that is to say, colloquial, without being bald or vulgar,
sspva
eeene
rvrbdveyber
dafhernl eygbcqhyeau
potebhrpnydelt
ael
reference
applauded,
incessant
dsse
se:apsacnasetsi
aotaugoccet
action
plicity and elegance of the language in wl'e di it couched. But, indeed, great pains have bref
on the diction of the play, which does noa
and crude, from first impressions, ,01.4 t proceed, hot
of
carefully elaborated throughout. e
inner so beeuliv,
poetry is perhaps wanting, but art, judiciously ap-
plied, has, in a great degree, supplied the defect. On the
whole, the play is one that does the author (Mr..
Haynes) the hielest credit. The plot, compared withi
most modern tragedies, trundles along at railway apee,ri,
and :tins sentiments are such -as do credit to the hen rt
anti the understanding. We subjoin one of the na t ;
effective scenes in the play—an inte• • mast
Ruthven between
Ruthven and Morton :----
MORTON. HOW is't with my friend?
RUTHVEN. He lives.
MORTON. Improves too. Hops a
If art should fail, there's strength in good physician.
RUTHVEN. Yes, when the lim nature still.
The very bones elastic. But ir ?eyoung, the sinews five.
Weak, witber'd, and, though bentdigeh •
The healing oMee of the blood is' n'n ending age,
•o'er
And nature's self is on the
si
And dissolution. e of waste
Mottos). Talk not so, nor thin k
Remember what you have been.
so'
RUTHVRN. That's my torment •
For now, what am I,
grovelling in the dust,
Even of mine own decay 1 My sword is bents
My helmet rusted, and the t s andard bravo,
That, like a skirt of Mars, shook overhead,
In the high wind of battle • t•mould.
I clings with
I have no strength—Wh
~Itt can the u rn
But, in the bare gradation their nof f.atye, g
Become the dead, ar d rot ? do
• .