Richmond daily times. [volume] (Richmond [Va.]) 1850-1853, 1853-05-28
r WAL OF NJ A c b e TIL.

IF the cry of the decline of the drama, be, as
it undoubtedly is. at least partially true, it is
some comfort to the lovers of the stage represent
tation of plays, that there is large proportion
of our dramatic literature which cannot decline,
but will ride triumphantly on upon the wings of
its genius, as spoken language. And more
than this. If the modern drama be degenerate
and still degenerating at all events the represent
tation of the early drama is becoming more and
more admirable, more and more true to the man
nerS and physical aspect of the age represented,
and more and more picturesquey beautiful to
the eye, and morally consistent and harmonious
to the judgment In Shakspesre's days, the set
ting forth of dramatic works was rude in the
trerne. A curious experiment was some years
ago tried at the Haymarket Theatre, by the pro-
duction of the Tanning Of the Shreao in the style
of the age in which it was written, and without
scenery; played before simple curtain, on
which, as the scene changed, the name of the
fresh place represented, legibly inscribed upon
placard was affixed by an attendant. Along the
sides of the stage were placed chairs for the most
important of the spectators, and these were oc-
cuped by actors representing the court-gallants
of Elizabeth and James, who thus formed por
ton both of the show and the audience. 1t is
probable, however, that the Shakspearian plays
produced at the Globe were still more primitively
represented in the matter of costume, the dresses
being either purely fanciful and allegorc, or SIM
ply those of the day; while the rough freedom
of the whole may be easily inferred from the we'll
known fact, that, until after the Restoration, the
women's parts were invariably played by men.
Nor does there seem to have been much i'm
provement from the time of James to that of his
grandson. When Nell Gwynne sold China
oranges to Pepys, the pit lay open to the weather
Soon afterwards, however, it was rooted in with
glass cupoa; and Of the two royal theatres,
that called the Dukes, and managed by Dave
nant, began to attempt the introduction of paint
The D.
nifcent; but they were not costumes. Charles,
his queen, and the Duke of York, presented their
coronation robes to the players; and it was Gus
tomary with the nobility and fashionable classes
to send their old court dresses to swell the man
ayers wardrobe. Thus it naturally happened
that Brutus, in cast off suit of Buckingham's,
might quarrel with Cassius attired in frayed
cloak and doublet of my Lord of Rochester;
that Killigrew might play Othello in the love
locks and 1uttering ribbons of the period; and
Davenant Macbeth, with Partisan raper, and
ruffles of Mechlin point.lace. This fashion con-
tinued till the beginning of the reign of George
I'LL; but even then, if the actors began to buy
their stage-clothes, they did not in the least
think of ordering any garments save the dress
suits of the day-a fact which may be readily
ascertaned by reference to any of the theatrical
portraits of the latter portion of the last century.
Garrick played Shakspearian tragedy in a court
dress; Kitty Give represented Portia in powder
ed wig; and even as to theatrical costume within
the present century, we see prints OF Miss ONeill
as Jane Shore, in the high-waisted robe, which
was the thrce-ugly fashion of the day. Not. e
however, that with the present century did not
come in a taste for spectacle melodramas and
operas in which magnificent fancy dresses, the
gloom and the skilfully managed gauze mediums,
and makes out the dim outlines of the figures of ,
the weird sisters. As Macbeth and Banquo en-
ter, the atmosphere appears partially to clear and
brighten, and lightning flashes momentary re- p
veal the very picturesque forms of the posters of
the and land until, by the ingenious working
of sliding inclined plane, they appear to be
caught up and away into the murky air. In the,
scenes in which the whole congregation of wizards
and witches assemblies, the same principle of aw-
full obscurity is preserved. These passages, it is
to be observed, are interpretations of Shakspeares
work In the original only the three witches
Hecate, and the appartions which they call up,
appear; but common consent agrees, that the
CHASTITY yet eminently lovely music of Mathew
Locke may fairly compensate for the liberty ia
ken with the work of the mighty master: at all
events, the witch solos and choruses, the words
of which are borrowed from play of Mddleton's.
rare occasions, and stiff-laced managers Mr.
Phelps, indeed, kept rigidy to the text at Sad
ler's Wells and left poor Mathew Locke entirely
out of the question, to the manifest disappont
ment of the most intelligent portion of the audi
ence, who rightly deemed that series of compo-
sitions displaying the genius of what is common
y called the music in Macbeth may fairly
enough be introduced to aid, they undoubled-
ly do, the wild and weird effect intended by the
poet To this end, the obscurity which we have
mentioned greatly adds. The congregation of
the unhoy is visible but as dusky blots Of shad
ows and dubious patches on the darkness, until
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