OPENING OF THE LYCEUM.
Mr. ARNOLD opened his new Theatre, "the Lyceum and English Opera-house," on Monday ; but without the new opera of Nourja- had, the preparations for it not being completed. The rehearsal which took place on the previous Saturday night, was, for this reason, only in undress. It would have given more Jclat to the opening could the opera have been performed. As it was, however, the novelty of the theatre drew a pretty full house ; and the per- formances, though not new, were excellent.
We have before given a slight sketch of the general plan of the building. Its interior is as gorgeous as possible, consistent with the good taste, which, with few and slight exceptions, pervades the whole. The architectural design of the interior consists of an elegant entablature surmounted with a light balustrade, forming the front of the gallery and slips, supported on slender columns rising from the dress circle. The enrichments are in classic taste, and raised in burnished gold on a white ground.
The draperies and linings of the boxes are a bright crimson ; and the ceiling and proscenium are ornamented with arabesques in more subdued colours. The prevailing hue is perhaps too warm for a summer theatre ; though it is not objectionable to the eye ; and the sense of heat is not otherwise oppressive, for the theatre is better ventilated than any we know of. Monday night was sultry out of doors, yet we experienced no unpleasant degree of warmth; nor, on the other hand, were there any chilling currents of air. This is a great point of comfort ; and when we thought of the sudatory atmosphere of the Adelphi, we felt grateful for the change. The projecting front of the " balcony," as the central part of the dress-circle is called, consists of an ornamental trellis-work of gilt metal ; but the effect of this novel and elegant addition was impaired by a temporary lining, which screens the lower part of the persons of the visitors in this part of the theatre, as effectually as pannelling ; thus entirely defeating its object. If the open railing is objectionable to the ladies, a narrow border, mid-leg high, would remedy any imaginary unpleasantness.* The front of the first or upper tier of boxes is composed of an imita-
tion of rich tapestry or embroidered cloths thrown over the rail of a temporary gallery. The idea is happier than its execution. It
prevents the line of seats from interfering with the symmetry of the architectural design ; and has also a sumptuous appearance ; but the imitation is not so perfect as to convey at a glance its meaning : there is no deception in the painted pannels, and the pendent pasteboard tassels. The balustrades of the gallery and slips are lined with scarlet—for so it looks with the full light of the chandelier falling directly upon it ; and this almost over- powers the colours of the ceiling and even of the rest of the house. The proscenium is supported by four columns on each side, coupled, on a white marble base, between which are the stage- boxes; and their pediments are surmounted by projecting pavi- lions, fitted up with crimson draperies. The arabesques over the proscenium would have had a better effect had they been fewer and more simple, and introduced in panellings as a relief to the architecture ; corresponding in character with those that sochastely adorn the pilasters and arch of the proscenium. The King's arms should have been either solid or in better imitation of relief. The festooned drapery, introduced by the scene-painter, is not only inharmonious but positively vulgar. This is easily altered. The blank space on the base of the columns between the stage-box and the commencement of the balcony is ornamented by an imitative bas- relief of figures. T here appears here a great mass of white, which looks bald and incomplete : this defect might be remedied by making it a warmer tone—as rose antique, instead of white veined marble. The whole audience part of the house is lighted by a superb chandelier of very large dimensions, composed of light festoons of glass icicles, terminating in gas jets : it is brilliant without being heavy. For seeing and hearing, there is not a better theatre in London. The front of the interior is semicircular ; but at the sides it as- sumes the horse-shoe form, which of course makes the side-boxes inconvenient : but on the whole there are fewer seats from which a
• On looking at the house last night, we were glad to aee the lining removed. The effect of the openwork front is beautiful.
good view of the stage cannot be got than in any other. There ought, however, to be none. We wish architects of theatres would bear in mind this canon, that in proportion as the front of the boxes departs from an elliptic form, is the inconvenience to the audience. There ought properly to be no side-seats in a theatre. A word with Mr. ARNOLD upon the arrangement of the boxes. The appropriation of the entire central part of the dress circle to stalls and private boxes, is a sweeping infringement upon old custom : and unless strict measures are taken to prevent abuses, this arrangement will be more profitabil to the boxkeepers than to the manager. We have always been of opinion that the price of ad- mission to the dress circle ought to be higher than to that above it, and the conveniences greater ; and we should only object to the present plan, if any system of extortion were suffered to pre- vail. The stalls being previously secured only by payment of the admission-money, should be kept for the holders all the night ; but if casual visiters cannot gain admittance to those that are un- let, without a bribe to the boxkeepers, (we do not say that such is the case), the manager will find the ill effects of it. The extra shilling for admission is nothing but fair. It is proper to state, that the upper circle of boxes is as free as a public place can pos- sibly be kept from improper visitors; and that no respectable fe- male need object to a seat in the upper boxes. The row of stalls in the orchestra is superfluous, since the dress circle is so appro- priated. The orchestra is not the best place for hearing the music; the room had better be thrown into the pit. The private boxes are so numerous, that we think Mr. ARNOLD will have to appro- priate a few of them to the newspaper critics, as amends for their exclusion from the good seats in the dress circle. The performances were SERLE'S domestic drama, The Yeoman's Daughter, with the same admirable cast as when it was acted at the Adelphi ; and two musical farces, Call again To-morrow and Amateurs and Actors. The acting of the first piece was most effective. Old WILLIAMS'S Walter Gray is a true portraiture of the hearty Yeoman. Mrs. GRIFFITH, as the Widow, seemed really to feel the mother's anguish, she depicted it in so genuine a manner ; and Mrs. WAYLETT, as Mary Gray, caught the infection too. SERLE, we are disappointed to find, still affects the muffled tone of tragic declamation, and the pulpit style of delivery ; which makes his acting not only less efficient, but sometimes positively disagreeable. OXBERRY as the Lawyer, SALTER as the Constable, and JOHN REEVE as the Ratcatcher—a most amusing trio—acted capitally. REEVE was in good cue, and fooled it in character, without being too natural in the drunken scene. WRENCH was the hero of the two farces; and KEELEY played Geoffery Mujincap, the overgrown charity-boy, in the last, with a very quiet humour. We saw WILKINSON, one of whose best parts it was, looking on most attentively. KEELEY has not won from him the honours of the muffincap. There was HARLEY too, ab- sorbed in contemplation of WRENCH as Wing, the starving actor. Mrs. BARRY, a new actress from Dublin, appeared in this farce, as the Tragedy Queen of the strolling company. She is an immense acquisition to the theatre. She rivals Mrs. GLOVER and Mrs. C. JONES in personal dimensions; and, judging from the talent she displayed, she bids fair to rival them in public favour too. Her features are handsome, and her voice agreeable.
The performances did not terminate on the first night till half- past twelve,—three quarters of an hour after the time stated. The delay in opening the doors and in the commencement of the first piece, to be sure, account in part for this lateness; but one of the farces would have been quite enough. When will managers attend to the proverb, "Enough is as good as a feast ;" and let the audience depart without fatigue—if not with a wish to stay, at least with a desire to come again ? Respecting musical matters, we have much to say ; but we re- serve it for the complete performance of Nourjahad—the proper musical opening. The public rehearsal of that piece was pro- duced under circumstances which must render criticism unsatis- factory and unfair.
Previous page
