Barnett Levey's Theatre Royal

SYDNEY THEATRICAL INTELLIGENCE

[FROM A CORRESPONDENT]

On Saturday evening last, Capt. Piper and many of his friends visited the Theatre. The "haut ton" mustered pretty strong in the Dress Circle. The performance commenced with the "Lear of Private Life." Mr. Simmons's personification of the fond, doting and ultimately maniac Father, was excellent, as well as Mrs. Taylor's exquisite performance of the tender dutiful confiding artless daughter, who relying on the promises of " Alvanley" consequently brings herself to ruin and goads her parent on to madness. in her departure from " Alvanley" and the scene which arises in the forest where she recognizes her father, her acting was truly effective; as was that of Mr. S. - Ample applause was the reward of their exertions. From the intense feeling she exhibits in this line of the drama, which may be termed the Tragedy of Domestic life, we should recommend to the manager's notice, Annetta, Victorine, The Sergeant's wife. Mrs. Jones was the Merriel and was a poor substitute for Miss Winstanley who originally played it here. It is a matter of regret to find that young lady absent from the establishment; for with all its dramatic strength, it requires more females- from the improvement she had lately shown and from her capital performance of Mrs. Tucker, Norna, and some other little characters she was rising in public favour. Grove's "Alvanley" may be rated as his best character, the other characters are all so trifling that the actors could not well acquit themselves better or worse than they did. A" Day after Wedding" closed the performance. There arose many ludicrous points about this little piece, that it cannot but excite laughter, and it did so abundantly, but did it give general satisfaction? We will pass over it in silence - it was wrong cast. Mrs Chester introduced three songs and was very happy in "Should he upbraid." It is impossible to observe the spirit which prevails on the Sydney Stage to produce horrible and terrific melo-dramas, instead of those fine, true, mirth inspiring and moral pictures which Mr. Centlives, Faraquhar, Morton, Reynolds, Colman, Sheridan have spread before us to make us ashamed of our follies but not of our species, We are now almost continually presented with odious and appalling dramas, which tho' calculated powerfully to disturb the wellspring of our emotions, have any thing but a pleasing or beneficial effect on the heart. Being profoundly impressed with a veneration for the drama and still more so for the moral lesson it ought to convey, we cannot behold with indifference our stage transformed into an exhibition of crimes which are beyond human imagination. The production of "Father and Son" last night causes these remarks, it being a tissue of improbabilities at the same time the heart shudders to behold a parent committing crimes, with the knowledge of his children, merely to cover his former sins and aggrandize his face. Instead of time being spent in such productions, something better might be substituted, which would tend to cultivate a correct and judicious taste for the drama. We do not advise the old plays indiscriminatingly, but a careful observer could select such as would suit the present stage. We understand Miss Winstanley's absence is caused by some disarrangement with the manager respecting her salary. This of course the public have nothing to do with. It is to be hoped however that her absence will not be long.

THEATRE - A Mr. Spencer, recently arrived from Hobart Town, made his debut on Monday evening in the character of Gloster, in Richard III., probably, with one exception, the most difficult character that was ever conceived by a performer, and one with which most playgoers are familiar. Mr. Spencer was well received on his first appearance, but had hardly got through his soliloquy before evident marks of disapprobation were shown; indeed, from the hurry to hiss, which was evident, it appeared as if a few persons were determined that Mr. S. should not have a fair trial, but they gained "nothing by the motion," for this evident desire to depress Mr. S. had the effect of making the other portion of the audience rather warm in his defence, so that at least it may be said that "the Ayes had it." Mr. Spencer, by his dress and general manners on the stage, showed that he will be an acquisition to the Sydney Theatre; but what could induce him to make choice of such an arduous character as Gloster, for his first appearance it is hard to conceive, as he must have been aware that he could hardly make a hit, when had he come out in any minor character he would have been sure to please the public. From the manner in which he played in the fifth Act, we should imagine that melo-drama rather than tragedy could be Mr. S's. forte, for his action was certainly not very tragic. Mr. Spencer gave the public what they seldom enjoy the benefit of in Sydney, the words of the author from first to last. Although Mr. S. will probably be permanently engaged by the Managers, it is not likely that he will again appear in Richard, and in any character of a common description he will be almost sure of succeeding. The other characters were mostly […] played; Knowles’s Buckingham, Simmons’ Richmond and Master Jones’ Duke of York being well supported. Mrs. Downes, as the Duchess of York, looked like anything but a Lady of fourscore. Mrs. Taylor played Lady Anne with no spirit; indeed, tragedy is out of her line. On Mrs. Jones' Queen Elizabeth it would not be fair to pass any remarks, as she had but a very short notice to play the character, which was intended for Miss Winstanley, who in consequence of a quarrel with the manager, has left the stage. The visitors of the Theatre will be sorry to hear this; for although Miss W. had little versatility of talent, yet her pleasing, unaffected demeanour, while on the stage, had rendered her a great favourite. Mrs Jones was to have played the Prince of Whales, a character which was assumed by a little girl (a sister, we believe to Master Jones) who went through the part with the same tone of voice, and with much the same gestures that children repeat poetry at school. The house was very full, every portion being crowded, a proof that however ill it is played, the public are and will be admirers of what is properly called legitimate drama.