The Sun.
London, England, 1832-11-06 00:00:00

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THE THE %TRES.

DRURY-LANE.

Mr. KEAN made his appearance here last night
(for the first time, we believe, for two years) in his fa-
vourite character of Shylock. This is the part in which
he first came out nn the London boards—an epoch in
s'a?e annals which Mr. Ha ZLITT has duly commemorated,
and in a style of eloquence and enthusiasm which the
world will " not willingly let die." There has been
much talk of late respecting the decay of Mr. KEAN'S
powers. We saw nothing of the sort last night. His
intellect was as bright and searching—his tact as unerring
—his voice as strong as ever. Having been so long in the
habit of taking matters " coolly and comfortably" at the
miner Theatres, we feared that be might be a little out of
his element at Drury-lane; but so far was this from being
the case, that even his lightest under-tones we'e audible
throughout the house, and in those particular passages
where he put forth his whole undivided strength (and he
played his best last night) his points told with all their
wonted effect. With what fearful alacrity he sharpened
his sword, and then directed it with a sneer towards his
victim ! With what mingled scorn, and contempt and
hate, he lingered on the word " Christian !" In that
one word, the whole secret of his character was
thrown open. It was the " Iliad" in a nut-shell.
Mr. KEAN is the best commentator on Shakspeare we
know of. In such parts as Othello and Shyloch he not
only understands and feels his author, but traces and fol-
lows him through all the subtlest turnings and windings of
his genius. Ilazurr wrote on Shakspe ire in precisely the
same spirit that KEAN plays him. Both are masters in
their art, and both without an equal. The Portia of
Miss PHILLIPS was marked by more spirit and discrimi-
nation than we supposed this young lady possessed. She
passed the ordeal of the trial scene in safety and even
triumph. Her voice, which always appears to us to issue
with difficulty from a throat clogged with cob-webs, was
most happily adapted to the learned young Paduan lawyer.
BRAITAX played Lorenzo with judgment, but was too
often hurrid, abrupt, and slovenly in his delivery. He
made sad work of the fine lines on music, which we
fully thought he would have given con amore. We would
recommend him, when lie next attempts the part, to be
less liberal with I•is negatives. We have no warrant for
" nor is not touched with concord of sweet sounds" in
Lindley Murray, and sure are we such a line is not to be
found in Shakspeare. In his songs, however, Batatram was
himself. Wade's graceful ballad, "Do you Remember," he
sang with infinite sweetness and feeling. Miss BETTS, who is
most at home in a bravura full of flourishes, like a school-
boy's holyday letter, gave " Lo, Here the Gentle Lark," in
a very effective style; but her vile use of ornament wholly
ruins her ballad singing. She his no more notion of sim-
plicity, than a bull-dog has of a bag-pipe. We have some
idea that she fancies herself a nightingale, but she may
rely on it, she has formed a wrong estimate of her vocal
powers. HARLEY'S Launcelot Gobbo was lively and'
amusing, but too fidgetty and snappish. The delivery of
the words " beautiful Pagan," addressed to Miss BETTS as
Jessica, might, however, redeem a much worse perform•
ance. It was a delectable sample of mixed humour and
pathos. CoorEa played Bossanio with his usual nice
sense of propriety. rule scenery of the play was excellent,
in some parts magnificent. We allude in particular to the
fine view of the " Bridge of Sighs," which in its way was
a perfect piece of art. We never saw any thing finer or
more like reality than the long line of moonshine that
quivered on the grand canal. The house was tolerably full,
and the performances received with marked applause.