15 JUNE 1839, Page 10

THE THEATRE.

THE representation of SIIAKSPERE'S Henry the Fifth at Covent Garden, regarded as an historical spectficle, is worthy of all praise : in accuracy, completeness, and animation, the stage tableaux are equal to those of Coriolanus ; the dazzling splendour of chivalric and regal pomp eclipses

the severer magnificence of that classic pageantry ; but as a scenic

of e realization it is not so perfect a whole—more is attempted than the stage can accomplish, and the play is overlaid with show. It is the common error of artists, indeed, to attempt impossibilities; making great efforts to overcome difficulties, and running into an excess f- 1 a- boredom instead of being content to present those characteristic points that convey a better idea of the reality than the most minute matter-of- fact representation—perhaps even (though it sounds a paradox) than the actual thing itself It is the province of art to refine upon gross reality, not only by selecting those parts of a scene or an object that convey ideas of grandeur and beauty, but presenting them in such away as to show the result or general effect ; obscuring some, and omitting others, to give a more vivid conception of the ensemble. To apply this principle to the stage, with reference to the play under consideration. The scenic effects, instead of being kept subordinate to the dialogue and action, as the accessories of a picture, are made principal, and divert the attention too much from the poetry and the personation : and moreover, the attempt physically to realize what can only be sug- gested to the mind, sometimes defeats itself. Thus the scene before I-Iarfieur becomes ludicrous by trying to represent the assault on the town : the French are quietly looking over the walls while the English King is urging his soldiers on to the breach, and when they rush forward the stage is left clear for the buffoonery of Pistol and his brother cowards—with only an uncouth piece of ordnance, which on being fired, once and no more, had made a most abortive explosion, The scenic representation of the battle of Agincourt is no less ridicu- lous : smoke rises from beneath the stage, under cover of which the background is shifted, a picture of the close of the battle being sub- stituted for one of the onset ; and this takes place in the face of both armies—which are most inadequately typified by a handful of soldiers on each side. In Coriolanus, the hostile array was stationary, and you fancied only the heads of the columns were visible, the rest being in- tercepted by the boundary of the stage picture ; but here the monstrous discrepancy between living men standing still and a miniature picture of the fight is glaringly visible. Such exploits as general battles and sieges ought never to be attempted on the stage : detached combats, and other incidents where only a few men are engaged, are the utmost that can be represented ; and these are quite enough for the purpose of stage illusion—all the illusion that is requisite or attainable. Where large numbers are introduced in motion, it should be momentary and passing action only—as the clamour of a mob, the advance or retreat of a party of soldiers : to begin and end a battle on the stage is mere child's play. To know where to stop, is one of the highest points of skill ; and m this representation that line is overstepped. Having stated our objection in lintine, proceed we to describe the

show. On the rising of the green curtain, a handsome drapery is seen with the arms of France and England emblazoned on either side, the initials of the two reigning monarchs, " H " and "C," being introduced on the ornamental bordering. This disputing, shows us Time, in the person of Mr. VANDENROFF, standing on a pedestal, with scithe and hour-glass, at one side of an immense scenic framework, its oval aper- ture closed with clouds ; which unfolding, reveal an allegorical repre- sentation of King Henry, with the dtemons of war in his train. The picture that prefaces the second act represents the traitors bribed by the French. Those preceding the third, fourth, and fifth, are moving dioramas, representing the changes of scene described by the "cho- rus,"—namely, the embarkation of Henry for France ; the passage of the fleet across the Channel ; the siege of Harfleur (which picture melts very ingeniously into the stage representation); the hostile camps, showing the opposite condition of the two armies as descrihed in the play ; and the triumphal entry of the victorious monarch into London from Blackheath. These scenic tableaux are painted by STAN- FIELD, with surpassing skill and brilliancy ; the groups of figures are admirably designed and executed—they are better historical pictures i

than any we see at the Royal Academy ; but the triumph of his art is shown in the landscape and marine views—the sunset at sea luminous and glowing, the waves liquid and transparent, and the eye traverses

the surface to the airy distance as in nature : the land scenes i

are fresh and atmospheric, and the bright moonlight reflected in the river is the nearest approach to reality the stage has ever given : in a word, these scenes are an exhibition in themselves.

Of their effect in assisting the comprehension of the dramatic action,

however, We cannot say niuch. The scenery and costumes point out the place of each scene sufficiently ; so that the introduction of the chorus is rendered superfluous ; while the spoken description is lost in the attention given to the scene. The purpose of the chorus—which the editor of the Pictcrial Shaksperc considers to have been improve- ment after- thought, and consequent upon a subsequent revision and mprovei ment of the whole play by the poet—is to supply the imperfections of the scenic aids of that age ; and to make Time the speaker, seems quite inappropriate : the chorus ought to have been spoken by one of the players in the character of stage-manager—for it is not the poet's licence of changing the scene, but the deficiencies of the stage repre- e that the audience are required to overcome by the exercise 7their fancies. Mr. VANDENHOFF looks very picturesque ; but since

he does

personate "Time," we think he ought to address the audience in a less impassioned manner, as it is difficult to believe that the stern ,id fellow is not mocking when he affects so warm an interest in stage business: the object being explanatory, the simplest form of declamation

is the best.

The pig itself being deficient in dramatic interest, it would seem bare been selected as a medium for a grand display of spectacle, paving the additional recommendation to the manager of a principal Character that predominates in every scene of importance. The King 08 sufficiently prominent without sacrificing passages of beautiful racy, and indeed whole scenes : some speeches may require to be drenched, but the poetry as well as the humour was advisedly lortrodoced by SHAKSPERE to relieve the tedium of political discussion and state business that form much of the business of the play : between every grave scene is introduced some comic dialogue or incident ; the omission of which, in the earlier part, made the performance drag heavily. Portions of this being unsuited to the present day, are properly omitted; but to cut out the whole of that capital scene (the first of the second act) between Bardolph, Nym, and Pistol, transposing another, and almost suppressing a third, is going too far : Pistol is not half loaded, and makes but a poor report of laughter ; Bardolph scarcely shows his nose ; and Nym is nimni'd of his humour ; even Fluellen's Welsh tongue is clipped, and one or two minor contributors to the fun are barked entirely: So with the poetry : the first scene between the two Bishops, containing the eloquent description of Henry—which is necessary to the understanding of his character—is omitted ; and other fine passages, such for instance as the apt comparison of a well-ordered state to the economy of bees, and the affecting episode of the deaths of York and Suffolk, are struck out. No more than needful abridgment is exercised on the speeches of the King ; except in the famous address to the soldiers, beginning

" Once more unto the breach, dear friends! once inure!"

in which MACREADY omitted the comparison between behaviour in peace and war, and the vivid picture of the warrior nerved for action ; merely because it suits his purpose to convert a deliberate exhortation into a sudden rallying-cry. These objections may appear hypercritical; but when the restoration of the "text of Shukspere" is made a principal feature, we are naturally more exacting. The Fifth Henry seems to have been an especial favourite of SHAH- BPERE : in the two parts of Henry the Fourth, the wild freaks of "mad- cap Harry" are made to serve as a foil to the manifestations of his better nature ; and in this play the conqueror of Agincourt is ushered in by a lofty eulogy of his character, (improperly omitted in the repre- sentation,) and enacts the kingly part so as to exhibit successively all the highest attributes of sovereignty. His dignified reception of the Ambassadors of France, and rebuke of the Dauphin's insulting present of the tennis-balls — his detection and punishment of the traitors—his spirit-stirring addresses to the army—his moralizing on the unprofitableness of ceremony and the horrors of war—his courtesy to the captains, and condescension to the soldiers in the camp—and lastly, his blunt wooing of the French Princess—all the various phases of a star of monarchy are shown in their brightest lustre. These characteristics are severally bodied forth by MACREADY with a studious regard to effect, and with a heartiness and energy that give to his most elaborate forethought the appearance of spontaneous emotion and action : the general severity of his manner enhances the value of the occasional relaxations of his stern gravity ; and though we can fancy a more captivating grace thrown over this beau ideal of a youthful and kingly hero, his personation so forcibly brings out the gallantry, spirit, and dignity of the character, as to leave little to wish for. He delivered the speeches audibly and impressively, with the ex- ception of the harangue at the siege, which was almost inarticulate from excessive straining. The fault of MACREADY'S elocution—its want of flowing modulation—arises from his desire to be distinctly heard, and to give weight to his words : and in this he generally succeeds. Most actors become inarticulate as they grow loud and emphatic, and where they would give most effect produce the least. There is little opportunity for tine individual talent of any other per- former in the serious way to display itself; but a general propriety and efficiency characterize the whole : the strength of the company, and the good drilling of principals and subordinates, are manifest throughout. HAntEx's Pistol and MEADOWS'S Fluellen were both spoiled by overdoing—a prevailing vice of stage-playing at the present tnne, that we owe to the great houses. Instead of the humour of the characters being evolved by look and tone, all was grimace, gesticula- tion, and practical buffoonery ; as though the end were to raise a laugh independent of the personation of character. Miss P. HORTON, itS the Boy, avoids this grievous fault, and by her arch manner and the expression of look and voice points the meaning of the words. Fluelku is a brave fellow, to be respected in spite of his oddities ; but MEnnows only makes him ridiculous. There is more excuse for HARLEY'S ver- 8100 of Pistol, the character being a swaggering exaggeration through- out; but there is less occasion to caricature it therefore.

The costumes are most superb, and in effect accurate : licence for the picturesque must he allowed, and is indeed necessary. The first scene, where the King sits enthroned, surrounded by his courtiers, to receive the Ambassadors, is a gorgeous picture of regal pomp ; the stone niches and statues in the upper part of the walls massing the glitter below. The long narrow chambers of state, with their rich hangings and quaint canopies, are very characteristic. The effect might have been improved in seine instances by an artist-like grouping of forms and colours, so as to prevent the confusion of splendour, that wearies the eye for want of a mass to repose on : this is a refinement that has yet to be introduced. MACREADY'S costume is preiiminently superb, as it should be : his po- lished steel armour, however, makes the blue tint of the mimic iron Worn by the others appear unreal. The music, which is, appropriately, of a military character, deserves a Word, for the sake of the fine old airs introduced. The overture is too fragmentary as a composition. Henry the Fifth is announced for performance four times a week for the remainder of the season.