The Sun.
London, England, 1826-10-27 00:00:00

COVENT GARDEN.

We anemia N. theatre last nigfit, under s strong
semis of listlessness and ennui. The play was " Othello
—Kean's acknowledged master piece—and we de-
spaired; therefore, of seeing a representation of the
jealous Moor worth attending to. But this—perhaps
illiberal—notion, was first combatted, and in part sub-
' duel, by Mr. Warde's Othello. Not that we con-
sider it in any respect comparable to the same charac-
ter by Kean—but what it wants in passion, it makes
up in grace and intellect. It is, throughout, a stately,
grand, and consistent piece of acting, more to be ad-
mired for its general, than for its particular m
In the earlier scenes it leaves nothing to be desired ;
the preconceived notions of the critic are'all well filled
up, till ,the famous dialogue in the third act, com-
mencing with, " Did Michael Cassio, when you wooed
my lady, know of your love?" then—and not till then,
the genius of the actor, as if eonscious of its inferiority,
droops and cowers beneath the overwhelming phrenzy
that is to flow, like hot lava, from itself ; desolating,
withering, and annihilating all around it. .Here Kean
triumphed, and here Wards fails ; could, we, however,
multiply the illusion, and permit one Othello to be
personated by two individuals, one to enact the war-
like, the other the jealous Moor, the representation
would be perfect. No one would wish to forget
Kean'a affecting farewell, or his tremendous burst of
passion that immediately follows it : but all would
wish to forget Mr. Warde's recitation of the same
part. But, again, where Kean falls short of, Warde

surpasses,a manly expectation,impressive dignity,an
and gave
totallyOt n
hello't
s apology
with variance
with the slip-shod familiarity with which Kean was in
the habit of slurring it. over. In fact, Mr. Warde is
Othello in repose ; Kean, Othello in a tempest ; and
as the tragedy is wholly mole up' of the stirring tor-
tures of the Moor's mind, it follows, as a logical con-
sequence, that Mr. %Verde has comparatively
Young was the ago of the evening, but the part, to
use a dramatic phrase, is a part of points; and Mr.
Young, though he can declaim well, cannot epigram-'
*afire, that is, give the requisite effect to shrewd,
caustic, and sententious aphorisms. He is too much
of a poet to represent adequately a man of the vivid.
A floor the tragedy, the well-known 44 Barber of Seville
was performed-; for the purpose of introducing Mr.
G. Pennon--'.of whom we have once or twice had oc-
casion to speak favpumbly—as Figaro. The recep-
tion which this promising young actor met with, was
as flattering as it was deserved. To a great deal of
the mercurial vivacity of Harley, be adds a gracefid
cheerfulness peculiarly his own ; and which, therefore,
sits pleasantly upon him, as if forming « part and
parcel"--to borrow a phrase front the. King's Bench—
of his very nature. From the first moment of his ap-
pearance on the stage, and, indeed, throughout his
arduous character—(arduous, because it requires cer-
tain inherent animal qualities, without which study is.
ineffectual)—he gained and preserved the good-will of
his audience. His introduction of the well-known
Cavatina, Was exceedingly happy, and sung with such
rich effect, as to call for an enthusiastic encore. Ris
bye-play, too, was good, and we are gratified in being
able to add, that his action, without being redundant,
was as animated, natural, and graceful, as it was
possible to conceive. If, aided by these advantages,
Mr. G. Nilson fail in rising to the first rank in his
line of performance--perhaps, the most novel and po-
pular of any in the wide range of the drama—he will
have none but himself to blame. Of the other, eba.
racters, as they are all well known in their respective
parts, we forbear to sa More than that they srent
through thein with their usual talent. The house
was crowded at half-price.