DOI issue:
July 15, 1882
DOI Page / Citation link:https://doi.org/10.11588/diglit.17753#0021
July 15, 1882.]
PUNCH, OR THE LONDON CHARIVARI.
13
Moving Scenes in Sensational_Drama.
ROMANY RYE AND ITALIANY RI-STORI.
Any one who at this time of year may be in want of change of
scene, cannot do better than visit the Princess’s Theatre, to see the
Romany Rye, in which the changes of scene are really a triumph of
this department of Stage-craft. “ Craig’s-Nest ” is one of Mr.
Beverly’s master-pieces; and Messrs. Smith, Hall, and Hann
have done their very best.
Our Mister Beverly
Has very cleverly
Painted a beautiful Scene in Act One,
Messrs Smith, Hall, and Hann
Have done all that they can,
But the Romany Rye, like their colours, won’t run.
The merit of the piece is that, come in when you will, you are safe
to see something
melodramatically
exciting, and you
can leave after
you’ve seen it
without feeling
the slightest in-
terest in what
may have gone
before, or any
curiosity as to
what is to follow.
It is one of those
pieces construc-
ted on the “ keep
moving ” prin-
ciple ; and when
there is any
chance of the ac-
tion flagging, or
the dialogue becoming flat, some one has only to say, “ Where is the
girl ? ” and. he answered, “ Od board the Grampus, or In Black
Bill’s cellar,” or “ Beyond our reach—in his power,” for some one
immediately to shout, “ Whatever it costs, she must be saved ! ” or “I
will find her, though I die for it! ” or, if it is the Villain speaking,
“Once on the deck of the Porpoise, the proofs destroyed, and the
will burnt, the gy-urrl is in my power ! ” and on we go again to the
next sensation scene. The best written part in it is that of Boss
Knivett, capitally played by Mr. George Barrett.
We were never more thoroughly taken in than by the Edward
Marsden of Mr. Markby, whom at first we had set down for a
middle-aged, amiable, and highly respectable cavalry officer, but
who proved to be as
big a scoundrel as was
ever let loose on society.
As he developed gra-
dually into a full-
blown villain, employ-
ing “bashers” to do for
the virtuous hero, we
were lost in admiration
of the Art which had
so cleverly deceived us;
and even when he was
found out and collared
by police in plain
clothes., we should still
have been ready, in
spite of the most daring
•evidence to the con-
trary, to assert his
intense respectability.
We are sorry to think that the Author forced him to confess his
own guilt and his accomplice’s as well.
Mr. Wilson Barrett is perpetuallv posing as the Deus ex
machind, and is so often rescuing Gertie Heckett from imminent peril,
that it is no wonder this accumulation of “ little savings ” should tell
at last, and that, changing her name to Hearne, she becomes His’n.
“Madame Ristori, with a powerful Company,” at Drury Lane.
It is a powerful company, physically, at least, as there are no finer
Actors—no, beg pardon, we should say finer men—on the stage, than
Messrs. William Rignold of the Heavy Weights, J. K. Barnes,
of the barn-shakers, H. R. Teesdale, and last, though not by any
means least, being quite six feet high, and big in proportion, Mr.
Arthur Dacre, whose costume, as Malcolm, appeared to have been
arranged for ballet purposes without the sanction of the Lord
Chamberlain, who, of course, could have had no idea that the part
of Young Malcolm was likely to be turned into that of “The Dancing
Scotchman.” Only the absence of the bagpipes prevented Mr. Dacre
from showing that he was the Scotch youth who must have his fling,
Hearne and'His’n.
as he stood with bare arms and short kilt, representing, probably,
the outskirts of Scotland, ready to do the heel-and-toe, and utter
The “ Powerful Company ”
at Drury Lane.
unearthly shrieks, at a moment’s notice. Capitally put on the stage
by Mr. Harris, but where were the bagpipes ?
Mr. William Rignold was immense as Macbeth; his lungs are in
excellent order, and he did such justice to his fine voice, as to suggest
that he should be styled the “ ''bos' of this show.” Unfortunately
for him, Mr. Barnes played Macduff with so much point—to his
sword—that, on Wednesday night, he managed to pink Macbeth,
and put him hors de combat. We are glad to say the wound is not
serious.
Seldom has the gentle and ill-fated Scotch Monarch found a better
representative than in Mr. Arthur Mathison, who made him-
self up after the model of King David in the stained - glass
window of a Gothic Church. Had he only been accompanied by a
harp—or, rather, had he brought it on himself—(for if he had
“ brought it on himself,” it would have been, evidently, his own
responsibility, and nothing to do with Mr. Harris)—he might have
played one of his own compositions, words and music—and then—
ah! on second thoughts, in that case, he wouldn’t have been Duncan,
(unless as an advertisement for “ Duncan Davison & Co.,” Music
Publishers)—and so, on the whole, Mr. Mathison was quite right.
Taking him in profile, there was
just a suggestion of Shy lock—
an amiable Shy lock with white
locks, which was quite in keeping
with the combined notion of
Hebrew monarchy and Scottish
thrift.
With such a powerful company
it would have been better to have
given Madame Ristori a chance
quite alone. She was overweighted
by Mr. Macbeth; she was ham-
pered by everybody ; and the house
was wearied and worried by the
time her great opportunity arrived.
At the commencement, alone and
without Macbeth, she was admir-
able ; but with what was, some
years ago when she first played the
sleep-walking scene in English at
the Opera Comique, a wonderful
performance, we were, we regret to say, sadly disappointed. The
actress now requires a smaller house and a smaller stage ; and only
those scenes in which Lady Macbeth appears should have been
performed.
Three French and two German Companies, Italian Opera, and
Italian Tragedians, — we’ve been a trifle overdosed with foreign
talent this season.
Divorgons, at the Gaiety, is only Delicate Ground developed in
length and breadth ; and the delicacy omitted.
Madame Ristori as Lady Macbeth—
“ The Woman in White.”
The Biggar’s Petition.
Pity no worries of a Grand Old Man,
Whose11 naming ” often shows us to the door ;
Give it him hot and strong, whene’er you can,
We only earn our wages—nothing more.
THE “ CORRECT CHEESE.”
It is always very difficult to decide what really comes under this
heading, but it is quite certain that the combination of skim-milk,
mud, and oleo-margarine which is largely sold as Cheddar, is not
entitled to that honour.
PUNCH, OR THE LONDON CHARIVARI.
13
Moving Scenes in Sensational_Drama.
ROMANY RYE AND ITALIANY RI-STORI.
Any one who at this time of year may be in want of change of
scene, cannot do better than visit the Princess’s Theatre, to see the
Romany Rye, in which the changes of scene are really a triumph of
this department of Stage-craft. “ Craig’s-Nest ” is one of Mr.
Beverly’s master-pieces; and Messrs. Smith, Hall, and Hann
have done their very best.
Our Mister Beverly
Has very cleverly
Painted a beautiful Scene in Act One,
Messrs Smith, Hall, and Hann
Have done all that they can,
But the Romany Rye, like their colours, won’t run.
The merit of the piece is that, come in when you will, you are safe
to see something
melodramatically
exciting, and you
can leave after
you’ve seen it
without feeling
the slightest in-
terest in what
may have gone
before, or any
curiosity as to
what is to follow.
It is one of those
pieces construc-
ted on the “ keep
moving ” prin-
ciple ; and when
there is any
chance of the ac-
tion flagging, or
the dialogue becoming flat, some one has only to say, “ Where is the
girl ? ” and. he answered, “ Od board the Grampus, or In Black
Bill’s cellar,” or “ Beyond our reach—in his power,” for some one
immediately to shout, “ Whatever it costs, she must be saved ! ” or “I
will find her, though I die for it! ” or, if it is the Villain speaking,
“Once on the deck of the Porpoise, the proofs destroyed, and the
will burnt, the gy-urrl is in my power ! ” and on we go again to the
next sensation scene. The best written part in it is that of Boss
Knivett, capitally played by Mr. George Barrett.
We were never more thoroughly taken in than by the Edward
Marsden of Mr. Markby, whom at first we had set down for a
middle-aged, amiable, and highly respectable cavalry officer, but
who proved to be as
big a scoundrel as was
ever let loose on society.
As he developed gra-
dually into a full-
blown villain, employ-
ing “bashers” to do for
the virtuous hero, we
were lost in admiration
of the Art which had
so cleverly deceived us;
and even when he was
found out and collared
by police in plain
clothes., we should still
have been ready, in
spite of the most daring
•evidence to the con-
trary, to assert his
intense respectability.
We are sorry to think that the Author forced him to confess his
own guilt and his accomplice’s as well.
Mr. Wilson Barrett is perpetuallv posing as the Deus ex
machind, and is so often rescuing Gertie Heckett from imminent peril,
that it is no wonder this accumulation of “ little savings ” should tell
at last, and that, changing her name to Hearne, she becomes His’n.
“Madame Ristori, with a powerful Company,” at Drury Lane.
It is a powerful company, physically, at least, as there are no finer
Actors—no, beg pardon, we should say finer men—on the stage, than
Messrs. William Rignold of the Heavy Weights, J. K. Barnes,
of the barn-shakers, H. R. Teesdale, and last, though not by any
means least, being quite six feet high, and big in proportion, Mr.
Arthur Dacre, whose costume, as Malcolm, appeared to have been
arranged for ballet purposes without the sanction of the Lord
Chamberlain, who, of course, could have had no idea that the part
of Young Malcolm was likely to be turned into that of “The Dancing
Scotchman.” Only the absence of the bagpipes prevented Mr. Dacre
from showing that he was the Scotch youth who must have his fling,
Hearne and'His’n.
as he stood with bare arms and short kilt, representing, probably,
the outskirts of Scotland, ready to do the heel-and-toe, and utter
The “ Powerful Company ”
at Drury Lane.
unearthly shrieks, at a moment’s notice. Capitally put on the stage
by Mr. Harris, but where were the bagpipes ?
Mr. William Rignold was immense as Macbeth; his lungs are in
excellent order, and he did such justice to his fine voice, as to suggest
that he should be styled the “ ''bos' of this show.” Unfortunately
for him, Mr. Barnes played Macduff with so much point—to his
sword—that, on Wednesday night, he managed to pink Macbeth,
and put him hors de combat. We are glad to say the wound is not
serious.
Seldom has the gentle and ill-fated Scotch Monarch found a better
representative than in Mr. Arthur Mathison, who made him-
self up after the model of King David in the stained - glass
window of a Gothic Church. Had he only been accompanied by a
harp—or, rather, had he brought it on himself—(for if he had
“ brought it on himself,” it would have been, evidently, his own
responsibility, and nothing to do with Mr. Harris)—he might have
played one of his own compositions, words and music—and then—
ah! on second thoughts, in that case, he wouldn’t have been Duncan,
(unless as an advertisement for “ Duncan Davison & Co.,” Music
Publishers)—and so, on the whole, Mr. Mathison was quite right.
Taking him in profile, there was
just a suggestion of Shy lock—
an amiable Shy lock with white
locks, which was quite in keeping
with the combined notion of
Hebrew monarchy and Scottish
thrift.
With such a powerful company
it would have been better to have
given Madame Ristori a chance
quite alone. She was overweighted
by Mr. Macbeth; she was ham-
pered by everybody ; and the house
was wearied and worried by the
time her great opportunity arrived.
At the commencement, alone and
without Macbeth, she was admir-
able ; but with what was, some
years ago when she first played the
sleep-walking scene in English at
the Opera Comique, a wonderful
performance, we were, we regret to say, sadly disappointed. The
actress now requires a smaller house and a smaller stage ; and only
those scenes in which Lady Macbeth appears should have been
performed.
Three French and two German Companies, Italian Opera, and
Italian Tragedians, — we’ve been a trifle overdosed with foreign
talent this season.
Divorgons, at the Gaiety, is only Delicate Ground developed in
length and breadth ; and the delicacy omitted.
Madame Ristori as Lady Macbeth—
“ The Woman in White.”
The Biggar’s Petition.
Pity no worries of a Grand Old Man,
Whose11 naming ” often shows us to the door ;
Give it him hot and strong, whene’er you can,
We only earn our wages—nothing more.
THE “ CORRECT CHEESE.”
It is always very difficult to decide what really comes under this
heading, but it is quite certain that the combination of skim-milk,
mud, and oleo-margarine which is largely sold as Cheddar, is not
entitled to that honour.