THE DRAMA.
The coming of the Kembles, and the dramatic festival in honor of John Howard Payne, gave an eclat to Theatricals during the autumn, such as our boards have rarely if ever boasted before. The brilliant tribute to Mr. Payne was rendere towards the end of November, and on the evening of
December 1st—The second engagement of Kembles closed, to one of the most brilliant and overflowing houses that was ever congregated within the walls of the Park Theatre. The play of the Hunchback constituted the chief attraction. Miss Kemble as Julia in no degree lessened those powerful impressions which her personalization of this beautiful though difficult character has created; while her father, as Sir Thomas Clifford, though the character is by no means fitted to display the abilities of this excellent actor, succeeded, as he generally does, in giving to his part an interest which failed not to insure the admiration of his audience. We have a few words to say respecting "The Hunchback." This play has proved a great favorite with the public; and while no drama of modern times has been so completely successful upon the stage, it has been thought worthy of being compared, as a reading play, with the productions of many of the old dramatists. Indeed though the spirit in which the characters are drawn partakes in many instances, and necessarily, of the present age, we are not the less disposed to render Mr. Knowles the praise of having successfully followed in the steps of these venerable fathers of the English stage, and proved himself an able disciple of the school of Fletcher, Webster and Ford.
December 8th.—On this evening Mr. and Mrs. Rae made their first appearance on the stage of the Park Theatre, The modest and unpretending manner in which these performers have come before the public, has quite prepossessed us in their favor. The play was Morton's comedy of "A Cure for the Heart-Ache;" and though the parts of Jesse Oatland and Young Rapid are not of sufficient scope to enable us to judge accurately of the merits of performers seen for the first time, we were much pleased with the manner in which these debutants acquitted themselves. Indeed, these performers will constitute a most valuable acquisition to the Stock company of the Park, which now possesses sufficient strength for the representation of our best comedies.
We cannot suffer this occasion to pass, without saying a few words respecting Mr. Wilkinsonwho made his first appearance in the early part of the season, and who is now one of the regular company at the Park. Mr. Wilkinson has rapidly established himself in the favor of our play-going public; and there is no actor on the American boards by whom he is surpassed in a certain line of characters. His manner is always chaste; and his humor is of an unobtrusive and quiet nature, which pleases equally with the boisterous mirth of others. In Dogberry, though perhaps not as successful as Barnes in convulsing the house with laughter, he gives full effect to the ludicrous dignity with which Shakspeare has invested this prince of watchmen; and though he possesses not that remarkable versatility of talent which enables Hilson to draw both tears and smiles from his audience, he yet has those qualities which render him well qualified to supply the vacuum created by the retirement of these general favorites.
Dec. 14th.—Mr. Forrest concluded a short engagement at the Park, during which he played in the three pieces known as "The Prize Tragedies," elicited by the liberality of this popular actor, viz. Metamora, The Gladiator, and Oraloosa. The first of these pieces, viewed as a tragedy, is beneath criticism. It has not suffered from misnomer, however, but has long held, and probably will continue to hold, possession of the stage, as a most successful melo-drama. The last is a late production from the pen of Dr. Bird, the well-known author of the piece enumerated before it.
Oraloosa, after long preparation was represented for the first time on Friday evening, Dec. 7, to an overflowing house, anxious to ascertain whether the author has sustained the reputation he reaped in such abundance from "The Gladiator." On reviewing our recollections of Oraloosa, we are forced to say that we were much disappointed in this last production of Dr. Bird, which is in every respect far inferior to The Gladiator: a play which exhibits some admirable theatrical situations, and with many passages of great power contains others of a softer character, worthy of being compared with some of the sweetest verses of our old poets.
The plot of Oraloosa is complex in the extreme, the author having in the formation of it worked up incidents and events, which might with propriety constitute the subjects of three or four dramas. Of its poetical merits we would say but little. In the overweening anxiety which the author has taken to store his play with incident, it seems to have escaped him that a good drama must possess something more than continued bursts of passion, and vigorous and continued action,