]829.] Theatrical Matters. 663 



spectator as much as Pierre's bloodthirstiness repels him. Belvidera's 

 sorrows are chiefly rant, and the diction is as unnatural as the passion. 

 Siddons did wonders with it, because Siddons could do wonders with 

 any thing ; but it Avas never among her favourite parts, and taste always 

 considered it among her worst. To say that JMiss Philips excited the 

 attention of the audience always, and their ajsplause often, is to say more 

 of her than can be said of most living actresses. 



In the ornaments of the ballet, however, we cannot include the tall 

 and masculine-looking personage whom the play-bills call Miss Angelica, 

 She does not dance badly, but her figure is the most case-hardened that 

 we can conceive capable of motion. She seems absolutely shut up in a 

 coat of mail ; the lady is as rigid as iron, and she looks more like a 

 ^figurante flourishing in a strait waistcoat, than a representative of the 

 Zephyrs and Graces. 



One of her most formidable disqualifications with us, too, is her labour 

 to cliarm ; her face is an eternal smile ; and we never saw a more gliastly 

 species of fascination. Yet if this rigid personage would but unlace her 

 stays, which must certainly be made of solid steel, and shut her mouth 

 for ever, she might pass^well enough ; for she dances with considerable 

 activity. 



There are few comedies in the English language which gratify us 

 more in the representation than Goldsmith's " She Stoops to Conquer." 

 There is more genuine humour in almost any one scene, than in half the 

 modern monstrosities (miscalled comedies). The character of Miss 

 Hardcastle is in great demand amongst young actresses, and it is one 

 in which IMiss Mordaunt is highly successful. The scenes with Young 

 Marlow, in her proper character, and that of the supposed barmaid, were 

 full of point and naivete ; and when she banters him in the closing scene, 

 as the Rattle of the Ladies' Club, she drew down loud and justly-merited 

 applause. Young Marlow is one of Jones's best parts, and we do not 

 wish to enjoy a richer treat than his first and second scenes with Miss 

 Hardcastle. In fact, Jones is the only actor Avhom we have seen pos- 

 sessed of tact enough to make Young Marlow endurable. Goldsmith's 

 idea of a bashful man was probably taken from some instance of his own 

 embarrassment at finding himself in better company than he had been 

 used to ; for his manners, to the end of his life, Avere rude and awkward ; 

 and on his arrival in London, were those of a clown, a sagacious clown, 

 no doubt ; but his very consciousness of genius seems to have rendered 

 him perplexed in society, even in his best days. 



His Young Marlow is less a diffident man than a perplexed booby, in 

 all the bashful scenes. Yet Jones, by his happy dexterity, contrives to 

 refine the author's conception into probability, and the bashfulness, 

 instead of being brutal, makes some approach to comedy. 



The Theatres are quarrelling and corresponding about Kean ; to Avliat 

 purpose it is scarcely possible to tell, unless it be to have it to announce 

 after a night or tAvo tliat this flighty Roscius has taken wing for the Isle 

 of Bute or the Antipodes. 



There is a remarkable dearth of good singers at present, and the few 

 that are, seem to be Avithout engagements in London. Braham is singing 

 in the country. Sinclair's engagement at Drury-lane is either at an end, 

 or brings him forward only at long intervals. Sapio has not appeared 

 tills season. The females are almost as much scattered. We are glad to 

 liear, that Miss Paton, tliough of all singers the most uncertain, is en- 

 gaged at Covent Garden. There is some flourishing in the papers about 



