Daily American organ. [volume] (Washington, D.C.) 1854-1856, 1854-12-01
From the London Times, Nov. is.
Death Of Mr.. Charles Kamble.

81
Though several years have now elapsed since
Mr.. Charles kembles appearance on the stage, his
death VIII be considered an important event even
by those who have not had the great advantage of
witnessing his admirable performances To the
youngest paygoer his name win be familiar as that
OF the last histiionic scion of family which was
for many years associated with all that was high
and dgnifed in theatrical art But in those Of
longer experience the record Of the melancholy
event win awaken remembrance of bygone days,
when the veteran who closed his earthly career ON
Sunday last stood as the representative of class
Of characters upon the stage in which, according
to the opinion even of the ablest judges, he was
never excelled. The gay, buoyant, spirited gen
ueman OF high breeding, who was such constant
stage hero years ago. was so completely identified
with Mr.. Charles Kemble that since his retirement
from the profession the character itself has almost
sunk into oblivion.
Mr.. Charles Kemble was born in November
l776--the same year in which his iustri0us sister,
Mrs. Siddons made her first appearance at Drury
Lane-and at the age of fourteen was sent to the
College Of Douay, where his brother, John Kem-
BILE, had studied twelve years before. In the win
ter OF 1928, he made his first recorded appear
ance at the Sheffield theatre as Orlando, in !" As
You Like Il and in April, 1874, through the in
terest OF his brother john made his debut at Drury
Lane as Malcolm, in Macbeth 1t is no discrodit
to his memory that during the earlier part of his
career he was considered what, in popular criti-
csm is termed a regular stick, for the fact that
ne was 80 considered proves that in climbing to
the high eminence he afterwards attained he had
to conquer difficulty often insurmountable---an
unfavorable impression. If he began at the bottom
OF the ladder his whole career one of improve
ment, and II sighted In 1894, he was regarded
thirty years afterwards one Of the brightest or
naments Of the theatrical profession
When Mr.. John Kemble purchased share Of
Covent Garden theatre, in 1908, Mrs. Siddons and
Mr.. Charles Kemblc both became members of that
company. To Covent Garden Mr.. Charles Kemble
remained attached for long series Of years though
he occasionally fulfilled engagements elsewhere,
and subsequently possessed the share originally
held by his brother. With his retirement from
the management of that theatre, more than twenty
years ago, began the decline of the "large houses"
as national establishments, although a temporary
resuscitaton was effected by the arrangements of
Mr.. Macready and Madame Vestris. 1t was while
Convent Garden was under the direction Of Mad
ONE Vestris that Mr.. Charles Kemble, after long
retirement re-appeared before the public for lin
tied series Of nights and played several of his IA
vorite characters, including Don Felix Mercutio,
and Hamlet. Except in series of readings he has
never been seen by any audience since that occa-
sion, but almost to the last day of his life he was
well known In private society as one of the most
| cheerful and intelligent companions His flow Of
years he suffered 80 severely from deafness that
without the aid Of trumpet he could not hear a
| single word of the conversation around him. This
affection caused him at times to wear melancholy
appearance that strangely with the gaiety
which perhaps his own hospitality had occasioned,
but the cloud was only TRANSIENT and if any con-
genial spirit spoke to him Of the good old times
his eye would brighten, his voice would grow elo-
quent and he would pour forth flood of anec-
dote, "Reminiscences and criticism, most entertain
ing and instructive to all present To the chosen
few who have known him in society his death will
be an irreparable loss.
Though Mr.. Charles Kemble played tragedy as
well as comedy it is with the higher classes of COM
edy that his name is chiefly associated His ex-
cellence is thus forcibly described by gentleman
who had an opportunity of comparing him with
early actors, who are almost myths to the present
generation
II never" says Mr. Robson, in his Old Play.
goer saw an actor with more buoyancy of spirits
than Charles Kemble. Lewis had wonderful vi
vacity, airincss and sparkle but he was fnicking
compared with Charles. Who ever played drunk
en- gentleman as he did? His efforts to pick up
his dress hat, in Charles Oakley, were the most
laughable, the most ridiculous, the most natural,
that can be imagined. l have seen him perform
the character of Friar Tuck, in dramatic version
of Mr.. Peacock's Maid Marian with such an extra
ordinary abandonment and gusto, that you were
forced back to the Jolly green wood and the bon
ny forest bramble. He absolutely rollicked through
the part ifhe had lived all his life with Robin and
his men, quafng fat ale, and devourng venison pas
tries But perhaps his masterpiece in this way was
Cassie. The insidious creeping of the devil upon
his senses the hilarity Of intoxicaton the tongue
cleaving to the roof of the mouth, and the lips
glued together the confusion; the state of loss of
self II may so term 1t, when he received the re-
buke of Othelo; and the wonderful truthfulness of
his getting sober-were beyond description fine
nay, real. No drunken scene ever saw on stage
was comparable to it."
In parts Of gallant, spirited bearing" says the
same writer, in another place, "just hitting the
difficult mark-noble without buster selfpossess-
cd without apparent effort energetic without bonn
bast, elegant without conceit-Charles Kemble has
never in my time, been equalled.'
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