New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-03-19

Kean, who undertook the character at Drnry Lane
In his second season there and continued the trad-
tiQnal gIorles OF Barry. John kemble had played il
a few years previously and Charles Kembe, one Of
the best R0meOs ever seen las be the best Mer
CntiOl only finally retired from the part in 1929
when his daughter Fanny came out 50 successfully
Juliet. This clever little lady rather unfOr-
innate in her kOmeOs At the time Of her first ap-
pearance, there was great difficulty in finding
suitable one for her. and IN her RecOllectiOns of
GlrlhoOd,p she amusingy relates how her parents
thought Of her younger brother, Henry try ng the
part. He was an extremely handsome boy, bnt
looked too young for 10; and besides this he had
an nsuDerable dislike to the idea Of acting. aud
IudicrOus ncapacity for assuming the ialntest ap-
peaIance of any sentiment. However, be learnt
the words, and never" lays Fanny, shall for
get the explosion of laughter which shook my
fatl or, my mother and myself wien, after hearing
MN recite the balcony scene with the most nde-
scilDaOle mixture or shy terror and nervous con-
WILSON'S of suppressed glggling, my father threw
down the book, and Henry gave vent to his feelings
by ciapplng his elbows against his SIDES and burst
ing INTO a series of triumphant cOck-crov San ex-
preston OF mental relief ludcrOusy in contrast
with his sweet sentimental face and the part he
had just been pretending TO assume that Thought
should never have recovered from the hts 10
sent into. We all literally crying with
laughter Eventually the part was given TO Mr..
Abbot very respectabl 10 actor old enough TO havo
been Miss Kemble's father, and of whose perform
ance she could only say. that it was not below
lnOiiensive mediOcrty." At that period, the clap
trap performance Of ROmeo's pucking Juliet from
her bier, and rushing with her down to the foot.
lights, was IN vogue and on the FIRST occasion of
her, ne whispered as he bore her down the stage.
" JOve, Fanny, you are liftw Miss Ellen Tree
also played Romeo with her, and wished TO carry
out the same feat. but Fanny, fearing that her
feminine lover would drop her declafed II you
attempt to lift carry me down the stage, | will
kick out and scream TIL you set me down" which
of course settled the point at once.
Some ridiculous ana hrOnism in dress have been
perpetrated in the performance OF the tragedy.
Garricks Romeo was beau in new birthday
embroidery; and WOodwards Mercutio was
dressed a squire or his own day. with perukc.
gOli-aced threecOrnered hat long waistcOat and
highhceed shoes We have got rid OF such glarn2
absurdIties, but / have myself Romeo tho
cut OF whose garments might be tOleraby correct,
but the hue Of which remarkable that
lady in the audience Indignantly likened him unto
boiled lobster. A cOmcal aud certainly unre-
hearsed effect was introduced into the play by
Mr. Conway whO entering Friar Lawfences
cell one night at the HaymArket, stun bled aud
presented himself before his ghOstly father his
hands and knees, instead of in the orthodox FASH
ion The additional point which this accident gave
a few minutes later to the FTar's speech, Wisely
and slow they stumble that run fast provoked
an irresistible burst OF laughter from the audience.
But perhaps the most farccal incident known in
connection with this wOful tragedy trick of
Listens who, save the mark once played Romeo
for his own benefit. In the old representations OF
Romeo and Juliet" procession OF choir. boys
used TO be introduced for Juliets funeral and the
mlschievOus comedian sent on all these young sters
with pieces of brown paper in their hands. instead
of handkerchiefs, with which to wipe away their
tears for the sweet lady untlmely death