The daily union. [volume] (Washington [D.C.]) 1845-1857, 1845-05-06

inch kings II was the old oak tottering TO its
fall but the monarch of the forest still The pas
sion too, was most artstieally worked up to ell
max, increasing in intensity from the scene IN
which he casts off Cordelia, through the scene IN
which he curses Gonerl until in the scene IN
which he becomes convinced Of the treason OF Gone
ril when il became the desolatiDg hurricane, des-
troying even reason itself. The scenes with Edgar
were beautifully given. The different phases OF the
approach of madness were admirably gwen. iou
could see as il were, reason descending from her
throne. The scene with Gloucester, too was very
fne--the biting apothegms which Shakespeare mas
in this scene put into the mouth of Lear were gwen
with heartless, bitter, scornful, laughing sarcasm,
which is perhaps one Of the most unfailins charac-
tsristics of madness.
ing; and the lament over her dead body was given
with an expression of heart-rendng pahos OF which
we did not before imagine Mr.. Forrest capable. lie
was called for at the conclusion OF the play, ana was
loudly applauded He was well supported by Ora
ham as Edgar, and Mrs Stirling as Cordeiia, VINO
each received the honor of call. The tragedy was
followed by the new ballet of the Fete DIES Fechetus
in which Mr.. Gilbert, Mademoisele Teresne, Mr.
and Miss Marshall, and Monsieur and Mademo'seile
Rousse delighted the audience by The exhibition OF
their choerographic talents The music OF tins ballet
is much above the common run of ballet music
The Tarantella and Gaope struck us as particular
ly beautiful. We understand they are the compo-
sition of Mrs. II. l. st. Leger, a lady who COM
posed considerable portion of the music of the We
ntan Pastimes, which had such a run at this the
atre a short time since The admirable opera Of
the Quaker concluded the evenings performance
Mn. FoRREsr.-The part of King Lear in which
Mr.. Forrest appeared for the second time on Satur-
dav is decidedly the most successful which he has
hitherto played; and it may be safely asserted that
had he chosen it for his debut his reception would
have been very fattering. MIR. Forests Lear is,
from beginning 70 end, very mastery, intelligent
and powerful performance, giving evidence OF the
most careful and attentive study of the authors
meaning steering clear at the same time, of all hne-
drawn subtleties and tricky point-making, and at-
fording well.grasped and evenly sustained imper-
sonaton of that magnificent and soul-strring crea-
ton He is certainly better Lear than any our
own stage has afforded for some time. Although,
from Mr., Forests personal appearance, one would
with difficulty imagine him capable of looking the
old man. four score and upwards all the attributes
of age and feebleness the pased head and totterng
walk, are admirably assumed, and are never lost
sight Of throughout the performance. AT his APP
pearance he was received with considerable APP
plause, which was repeatedly renewed as he con-
tnued with the scene-commencing IN tone Of
kngly dignity and paternal affection, and, after Cor
delas reply, gradually giving place to the suppress
ed workings of his rage, which at last burst forth,
at Kent's interference, into an ungovernable Storm
and lit up his features with the most whitening ex-
preston of fury. The at the end Of the sec
ond act which was pronounced by Mr.. Forrest in
one scream of rage, his body TREMENDOUSLY agitated
by the violence of his emotion, brought down burst
after burst of applause, which lasted considerably
after the fall of the drop; and, indeed, attempt
was made to introduce that very unusual compi-
ment when the play is still unfnished--a call for
the actor.
Such displays of physical power, although in this
instance perfectly called for and necessary, are not
hc Scver the chief the best points on which Mr.
Forests performance rest The scene where he
discovers Kent in the stocks, and subsequently
fronted with his two daughters, whose insults final
y drive him off distracted, acted with great play
and variety Of expressions Mr. Forrest passing from
one emotion to the other with childish itfulness,
and displaying keen and discriminate perception
The mad scenes also in no less degree evinced the
higher qualities of the actor The declamatory
bursts of passionate satire on the vices and weak
nesses of the world chaotically mingled with the
incohercnces Of Madness had evidently been sub
ect of minute study, and were shaded with admira-
BILE nicely the features constantly expressing the al
ernate return of light and darkness on the old mans
BRAIN In the last act, the touching simplicity and
tenderness his manner when too exhausted for vio
lent emooa and the last act of feversh energy over
the body Of Cordelia, were equally well conceived
If there be any fault to find, it with the DEATH
which was, perhaps, too minutely true in its phys-
| cal details.
Mr. Forrest was called for at the conclusion, and
received enthusiastic marks Of appreciation. The
rest of the parts were, on the WHOLE very efficiently
tender, and Mr. Graham played Edgar with much
quiet feeling, though he has scarcely sufficient
variety for some portions. Granby's rough blunt
ness Of manner well adapted to the part of Kent
The house was well attended.
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