The Sun.
London, England, 1856-12-02 00:00:00

LYCEUM THEATRE.

By selecting the tragedy of Othello for his benefit last
night, Mr. Dillon excited no small amount of curiosity
among the London public. His great success hitherto
having been achieved in pieces of the "drama" kind, and
having all been distingushed by evidences of original
thought, the curiosity to know what he would do with
-me of the so-called "great parts" was natural enough
Whether he played well or ill, it was tolerably certain
that he would give an Othello of his own, and would not
reproduce any ordinary tradition.
Magnificently dressed as he was, in a long tunic, the
rnpression made by his first entrance was most favour •
thle. There was a good, manly, honest look about the
4entlensan of colour, who was destined to be " perplexed
n the extreme" as the story developed itself. But never•
theless we cannot say that he thoroughly settled his porri•
ion with his audience till the commencement of the third
.tct. The declamatory part of histrionic art seems to
tccord least of all with Mr. Dillon's idiosyncrasy, and
herefore, though the address to the Senate was carefully
delivered, it still seemed that the artiste was outside the
character he assumed. As the famous dialogues with
[ago progressed it became evident that he warmed into
ne business of the scene. The blank misery with which
e listened to the tempter's description of jealousy, and
tie manly effort of self-possession, with which he gathered
renself together were well conceived. The air of painful
attention with which he listened to unpleasant tidings was
remarkable for its truthfulness. However, it was only
35, degrees that his partionlar interpretation of the entire
oart was made apparent. A tender affection for Desde-
lona was the one feeling which he intended to be pre-
lominant over all the rest, and the manifestation of this
'eeling was constantly to be found even when it might
he least expected. His grief was always greater than
its rage; if he could find a pretext for returning tender-
Less he seized it with avidity, and we might fancy that
Othello was ever anxious to look upon the revelations of
Tago as part of a hideous dream from which, with a
rental effort, he could awaken. The great ranting pas•
•age, " Whip me, you devils," &c., was given with a
;power which could scarcely be surpassed, but its chief
effect was produced by the transition to grief at the end,
he sudden change from noisy despair to deep, unutter-
tble anguish. The concluding portion of the last act was
oerfect in its minutest details, the general conception
haing that the Moor, on the revelation of the deceits
dractised upon him, had ceased to take interest in exter-
nal events, and was absorbed in the mental preparation
for his own death. In the concluding speech every line
sad its due value, and to those of the audience who had

,he earlier parts of the play in their remembrance most
triking was the contrast between the declamation of
he actor, who had not yet identified himself with
.he character, and the elocution of the same actor
.ghen the feelings of Othello had become his own.
From the beginning to the end of the tragedy Mr.
Dillon made, as it were, a constant encroachment on

he sympathies of his audience, and when the curtain
lad fallen his sway bad become universally acknow-

ledged. it was impossible to misinterpret the hearty
sheers that saluted the actor as he crossed the stage in
response to general acclamations. Mrs. Dillon, who
sad played Desdemona in an exceedingly graceful mau-
ser, shared the honours thus awarded, and a residue of
glory was bestowed upon Mr. Stuart, who had been a
careful and steady lago. The raise en scene of the piece

is exceedingly gOod, the traditions of stage arrangement
being in more than one iustauce departed from, so that
the revival of the tragedy may be regarded as something
mare tban a mere benefit freak.