The Sun.
London, England, 1848-07-04 00:00:00

HAYMARKET THEATRE.

Mr. and Mrs. Charles Keen took their benefit at this
Theatre yesterday evening, on which occasion the per-
formances consisted of Sir E. Bulwer Lytton's play of
Money and of Mrs. Centlivte's comedy of The IVonder,
Mr. and Mrs. Charles Kean sustaining respectively the
characters of Arthur Evelyn and Clara Douglas in the
first piece and of Don Felix and Donna Violante in the
second. It is a work of supererogation to descant at this
time of day on the merits of the Arthur Evelyn of Mr.
Charles Kean; it has long been the delight of every
playgoer, and is acknowledged by every critic to be the
best on the stage. The Clara Douglas of Mrs. Charles
Kean is beautiful exceedingly. As intensely pathetic as
that of any of her predecessors, the Clara Douglas of
Mrs. Charles Kean is more ladylike—more like what
we should expect Clara Douglas to be, seeing she has
always been used to mix in good society. This tone, which
can only be caught by mixing in good society, has been
given to the character by Mrs. Charles Kean, and there-
fore is she par excellence the Clara Douglas of the
author. The great feature of the evening was, however,
the first appearance of Mr. Charles Kean in comedy.
We say his first appearance in comedy, for albeit Money
is called a comedy, the character of Evelyn is essentially
tragic. Not so that of Don Felix, in which MaCharles
Kean appeared for the first time last evening. Knowing
and admiring as we do the genius of Mr. Charles Kean
in tragedy, believing that his genius as a tragedian has
not yet completely developed itself, and that although
he has done great things (greater than any man now
living has ever done), yet that he will do greater still ;
hiving attentively watched his career from that certain
night in October, 1827, when the young boy, full of
genius and enthusiasm, but as yet unformed in his art,
ppeared in the character of Norval at Drury-lane, and
made "a most palpable hit;" having followed his career
through his long course of provincial practice (by which
he was made an artist) until his re-appearance
in London in the character of Hamlet, after a
patient study in the provinces of many years,
at once placed him at the head of his profession,
having since watched his career of uninterrupted success,
and assisted (to make use of a French expression) at all
his triumphs; having also the greatest possible faith i❑
his genius and powers, we will confess we felt anxious
for the result of the experiment of last evening. Not
that we dreaded anything like a failure—genius never
can fail entirely—but we feared lest, not trusting suffi-
ciently to his own inspirations, Mr. Charles Kean might,
in a line entirely new to him, be tempted to adopt some
of the traditional conventionalities of the part, and
thus give us, albeit a good Don Felix, such a
Don Felix as divers who have gone before him have
given; or, on the other hand, that he might overleap
the bounds of comedy, and make of Don Felix an
Othello. We were, however, agreeably surprised at the
Don Felix of Mr. Charles Kean; not only was it a bril-
liant success, it was a perfect triumph. He pitched the
character from the beginning somewhat higher than his
predecessors have done of late years, but he maintained
the pitch throughout, making of it an harmonious whole,
which will, if we mistake not, be the model of all future
aspirants to histrionic fame in the character of Don
Felix. He was, indeed, the chivalrous and im-
passioned, but somewhat hasty and hot-headed,
Portuguese nobleman, and he had the good taste
never once to condescend to claptrap, and never,
however inviting might be the situation, to descend to
buffoonery. His jealousy was real, and excited our
sympathy, albeit we were aware of its utter ground-
lessness, and although amused at the dilemma in which
he constantly finds himself placed, it was impossible not
to feel !for his misfortunes. He was, in fact, the Don
Felix of the comedy—Don Felix the gentleman as con-
tradistinguished from Don Felix the buffoon, as he is
too often represented to be. Full of earnestness, full
of power, by turns pathetic, impassioned, and sar-
castic, the Don Felix of Mr. Charles Kean was the
triumph of genius chastened by taste and a consummate
knowledge of art. This is his first, we hope it will not
be his Last, appearance in comedy. There are divers
cognate characters to Don Felix to be found in the
works of our old dramatists which Mr. Charles Kean
might re vivo with great advantage both to himself and
to the public. Mrs. Charles Kean has long been the
best Donna Violante on the stage. In the personation
of the lady, par excellence, of our haute comedie no one
can approach her. It is in these days de-
lightful to witness her impersonation of cha-
racters of the class of Donna Violante. In this
line she stands alone, unapproached and unapproach-
able. She was excellently supported by Miss Emma
Harding, who in the part of Donna Isabella, had
an opportunity of appearing in a " character," an op-
portunity of which she knew well how to avail her-
self. her Donna Isabella was admirable. Mrs. Ilumby
acted inis, as she alone can act pert chambermaids.
Webster's Lissardo was the beau ideal of the smart, in-
triguing valet. Why does ho not revive the
comedy (not the opera) of the Barber of
Seville, and act the part of Figaro himself! Mr.and Mrs.
Charles Kean were called for at the conclusion of each
of the comedies, and bouquets ti Jolson showered upon
them. Her Majesty and Prince Albert honoured the
theatre with their presence, and arrived soon after the
commencement of the performances. At the conclusion
of the play there was a loud call for " God save the
Queen,," with which the band complied. Her Majesty
men eAme forward to acknowledge the compliment, and
the cheering with which she was received was en-
thusiastic. Prince Albert also was loudly cheered.
The h once was crowded to suffocation. Before the
rising of the curtain standing room was not to be had in
the pit. The box lobbies even were crowded, and the
galleries were a sea of heads.
(From the Chronicle.)
Mr. and Mrs. C. Kean last night took their benefit
at this theatre, when, honoured by the patronage of
her Majesty, they had a bumper house—such a house as
has not been brought together to witness an English per-
formance for many, many a long day. The performances
consisted of the comedy of Money, which has lately been
revived with an effective cast, including Mr. C. Kean
as Evely, and Mrs. C. Kean as Clara Douglas; and Mrs.
Centlivre's comedy of The Woader, cut down to three
acts, in which Mr. C. Kean essayed the part of Don
Felix for the first time, to Mrs. C. Kean's Donna Vio•-
haute We are glad to see Mr. C. Kean showing an in-
clination to enlarge his range of characters, and hope he
will be encouraged to pursue still further so useful and
improving a course of study. His long habit of decla-
mation in tragic parts, however, has fixed him in a
sententious tone, utterly inappropriate to light comedy,
and which he will have to labour hard and resolutely to
disembarrass himself of before he au appear with seas-
faction to himself or his audience in characters asso-
ciated with reminiscences of such names as Elliston
and Charles Kemble. Mrs. C. Kean's Violante
was an admirable performance—one which makes
us long to see her oftener in parts of legitimate
comedy. Her scene in the second act, where she has
the laugh upon the jealous Felix, when he rushes sword
in hand after his supposed rival into the empty closet,
was a brilliant piece of acting, and drew down a hearty
round of applause. Her Majesty and Prince Albert end
suite arrived about eight o'clock. At the termination of
the first piece Mr. and Mrs. C. Kean were loudly called

for, and upon their appearance before the curtain, hailed
with loud cheering, accompanied by a profuse shower of
bouquets. A cry was then raised for " God save the
Queen," which was repeated at intervals during the next
ten minutes, some delay occurring in compliance with
the demand. When the first note of the National An-
them was struok up by the orchestra, and the Queen
appeared in front of her box, there was such a shout of
genuine loyalty throughout the house as must have con-
vinced her Majesty of the delight with which a British
public hailed her appearance amonst them, giving the
sanction of her countenance to the national drama of the
country. The same cheering, accompanied with lusty
waving of hats and handkerchiefs, was repeated again
and again at the close of the anthem.
(From the Post.)
The performances last night were for the benefit of
Mr. and Mrs. Charles Kean, and were honoured by the
presence of her Majesty, Prince Albert, the Duchess of
Kent, and many of the highest aristocracy. The com-
pliment was as gracious as deserved, and we have no
doubt that the excellence of the pieces selected and the
merits of the actors will induce a frequent repetition of
the royal patronage. her Majesty entered the theatre
ere the conclusion of the first act of Money, and gave
frequent testimonies of her satisfaction during the pro-
gress of the play. At the conclusion Mr. and Mrs.
Charles Kean were summoned before the curtain amidst

the applause of the audience. The National Anthem wr
called for, and her Majesty bowed freqently from her
box in acknowledgment of the enthusiastic loyalty of the
house. Mrs. Centlivre's comedy of The Wonder, com-
pressed into three acts, followed, in which the characters
of Don Felix and Donna Violante were sustained by
Mr. and Mrs. Charles Kean with infinite spirit. The
theatre was densely crowded in every part.
(From the Herald.)
The benefit of Mr. and Mrs. Charles Kean took place
last night, her Majesty and the Prince, and her Royal
Highness the Duchess of Kent, honouring the perform-
ance with their presence. The entertainment consisted
of Sir Bulwer Lytton's play of Money, and a compressed
version of Mrs. Centlivre's Wonder, both of which were
acted with great spirit, the two principal artists meeting
with great applause, and achieving an abundance of
bouquets. The house was crammed to overflowing,
every available seat having been secured a fortnight ago.
(From the Advertiser.)
Yesterday evening Mr. and Mrs. Charles Kean took
their benefit at this theatre. The entertainmentthsewfearcet
h
rendered doubly attractive and interesting from
er
of her Majesty the Queen honouring the houpseaidwibtyh,
her
august presence, doubtless a mark of
to the genius and talent of the gifted7em
etne eficiares. The
pieces selected for the occasion were Mre
Wonder, than which, perhaps, two better andieces, The
on
i
e,i
more adapted to the resources of the theatre, could not
have been chosen from the ample_r catalogues of our dra-
matic compositions. Mr. and Mrs. Kean in the first
piece sustained the respective_.characters of Evelyn and
Clara Douglas, the two leading personages of the co-
medy, and which were impersonated with every
success. Evelyn was natural, and appeared
fully Mr. Kean's
to carry Out the conception of the author. in
the portions of the play where the stronger emotion,
of the man were called into operation, he was admirably
impressive, more especially was this observable
in the scene with Clara, at the commencement, when
the gentleman and the scholar is refused OR ac-
count of poverty. The intimation of his sudden
wealthiness was received in a becoming manner, not
breaking forth in boisterous rautings, but mild, calm,
and feeling. The assumed adversity, too, at the latter
end of the play was excellently evinced; it was really
the rich man trying by an expedient the truth and sin-
cerity of those who professed so much regard, that they
were ready and eager to perform any office for him. The
taunts and gibes addressed to those tongue-flatterers
were delivered with a bitterness of accent, which added
to their weight and severity, while the manly sentiments
which pervade the part were uttered with heart and soul.
Mrs. Kean as the gentle, loving, suffering, and kind
Clara was, as she invariably is with every character she