The Sun. — 1845-09-05 (London, England)

HAYMARKET THEATRE.  Poole's drama, entitled Past and P,ese),t, was revived at this theatre last evening, and Was received with that enthusiasm which its representation never fails to elicit when Farren acts the part of Larose. This was one of the earliest of those dramas founded on the French Revolutioh, Which are divided into epochs, and, ce'tes, it is °tie of lie beit--tis itn acting play, perhaps the very best. If we mistake not, this sPas also the earliest drama in which Farren delineated the various phases of old age. In the first act (1789) he is a hearty, well-formed man of 53, the faithful steward of the Marquis St. Victor (Mr. Sigel), sioring his master and his family, the friend and playfellow of young Julian de St. Victor (Miss Julia Bennett), the Marquis's son. In the second act, 1793, he is disguised as a wood-cutter, the friend and safeguard of his master, then a prisoner in the Conoiergerie. A casket of treasure has been entrusted to his care, and religiously does he keep his trusts In the third act, 1829, he is an old man of upwards of 90. St, Victor has been murdered in the Revolution, Julian has been killed at the head of his regiment, and old Larose is living near the chateau de St. Victor, in Normandy. The son of Julian, the heir to the St,. Victor property, arrives there. The old man recognises him, and, napkin on arm, serves him at table as he had been wont of yore to serve his grandfather. He tells the boy of the hidden casket of treasure, takes him to the chateau, and endeavours to revive his own recollections as to where be had secreted the precious treasure. The sight of the various rooms revives former recollections. He sees his old master being dragged away by the revolutionary officers —he hears the sounds of horror of that dreadful night. The boy endeavours to bring him back to the casket. He totters round and round the room—he has forgotten the spot where it is hidden. At length a casual word brings back his memory ; the casket is found hidden behind a grate ; it is brought forward ; the old man joins together the hands of the youth and of his lady-lore, blesses them, and dies. Nothing can be more beautiful, more pathetic, more true to nature, more artist-like, in the highest sense of the term, than the performance of Farren in this last act. It is impossible to describe it. It must be seen—it must be felt to be appreciated. We say feta advisedly, for it goes at once to the heart, and that so completely, that it is impossible to criticise it until, by seeing it frequently, one has become case-hardened. Miss Julia Bennett's young St. Victor was a very spirited performance ; it is, perhaps, the best she has yet done. She gave the laughing joyousness of the brave, gay, high-spirited youth—the votary of love, and wit, and war—sans souci et sans six sous—to the life. Mr. H. Roll's Count de Florville was very good. In the two first acts, as the polished, empty-headed, careless fop, he was very good ; but, in the last act, as the old beau—the man of sixty-three, the ci-devant jeune homme, he was more than good—he was artistical—the distinction between the young fop and the old fop was beautifully discriminated, and was admirably preserved. Mr. Stuart, as the Marquis St. Victor, made mart of the character than we ever remember to have seen made of it. There is a power and an intensity in Stuart's acting which invariably tells in such characters as this. Farren was called for at the fall of the curtain, and it is not often that a call is so well deserved. The house was crowded ; and no doubt Past and Present will draw crowded houses for many nights to come.  THE CROYDuN