Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-02-11
THE"LADY OFLY0Ns.,
Its First Production I'm London Under
the Management of Maeready.

Helen Faust (now Lady Martini, writes in
Blackrood's OF the first production of Bull
wer's Lady of Lyons: With little cost, this
play, which was to prove 30 wondrously sue
cessful, came forth 10 the world unsssisted
BY any extraneous adjuncis, depending sole
" upon its own merits and the actors inter
probation of it. 1t must have been written
with rare knowledge of what the stage re-
quires, for not one word was cut out or one
scene rearranged or altered after the first
representation. The suthor was no doubt
lucky In his interpreters. Mr.. Mscready,
though in appearance far too old for
"Claude Melnolte," yet had a slight, elastic
figure, and 80 much buoyancy of manner,
that the impression Of age quickly wore of.
The secret of his success was that he lifted
the character and gave it the dignity and
strength which it required to make "Claude"
respected under circumstances TO equivocsl.
This WAS especially conspicuous in 8 criti-
cal point early in the play TACT 9, where
"Claude" passes himself off as a prince. Mr..
Macready's manner became his dress. The
slight confusion, when addressed by "CoI.
Dsmas" in Italian, was SO instantly turned
to his own advantage by the playful way in
| which he laid the blame on the generals bad
italian, while his whole bearing was SO dig
| ni6ed and courteous that it did not seem
strange he should charm the grlish fancy of
one accustomed to be courted, yet whose
heart was hitherto untouched. He m ade the
hero, indeed, one of natures exceptional
gentlemen, and this way prepossessed his
audience, despite the unworthy device TO
which "Claude" lends himself in the frenzy
of wounded vanity. Truth TO say, unless
| dealt with POLITICALLY and romantic ally, both
"Claude" and Pauline" drop down into very
commonplace people-indeed, / have been
surprised to see how commonplace.
WHAT'S IN NAME?
The success of The Lady Of Lyons had, dur
| ing the rehearsals, been considered very
doubtful. Its defects, in literary point OF
view, seemed obvious TO those who we're capa.
BILE of judging, and its merits as piece oil
| skillful dramatic construction could not then
be fully seen. The master and friend
| of my youth, OF whom l spoke in my
letter on outlet" thought my part
| of "Pauline" very difficult and some.
what disagreeable. / remember well
his saying 10 me: "You have hith
| erto, in your Shakespearean studies, had Il
| lift yourself up 10 the level OF your hero
ines; now you must, by tone and manner anC
dignity of expression, lift this one up tt
yourself" During the rehearsals no ons
knew who was the author. The play haC
not a name given 10 it until very near the
time it was brought out. There was grea
speculation at the rehearsals as to what il
was to be called. Love and Duty, Loue dnc
Pride were suggested, but discarded as TO,
like the titles of a novel. The Gardeners Son
said one. No, that suggested nothing. Tn
Merchant of Lyons said another. No, surel,
not; was there not a Merchant of Venicef'
Upon which Mr.. Barley, who was the stag
manager and also the first and the beat "Col
DAmas," turned to me, and, taking off his ha
and bowling in the soldier-like manner OF th
colonel in the play, said: 81 think, IN
young cousin should give the play a name
Shall it not be called The Lady Of Lyonsr
Whether this name had been decided on be
fore can not tell, but shortly after the pl a
was announced by that title.