tOt t4ratrri.
That King John with all its poetical beauties will ever become a per- manently popularly work with the theatrical public is scarcely to be ex- pected. The wicked monarch, who is the nominal hero of the play, and is always acted by the leading tragedian of an establishment is not a dearly developed character, but is important rather from the share he takes in the action than from any personal peculiarity The agonies of lira death are purely physical, and his outbursts of heroism being on the side of national independence, and uttered in defiance of an " Italian. Priest" elicit applause precisely because they are treated by the audience as isolated speeches, and completely disconnected from the story. In a poetical anthology, the openly expressed contempt for the Pope would satisfy even the demands of Exeter Hall, but if followed through the Play, John makes a very poor figure as an early reformer. The objects of sympathy are Constance and her son, and the policy of the Church, selfish as it may be, ranges the Cardinal on the side of justice—so that he appears as the unexpected ally of a basely deserted woman. Moreover, the first scene of the fifth act, which plumps our ancient protestant down on his knees before the legate, and makes him receive his crown as a fee from the Pope, terribly destroys all possibility of confounding John Plantagenet with John Wycliffe. It is only when he suggests to Inhert the death of Arthur, that John becomes really impressive, and the actor dines most, who is most skilled in suppressed utterance, and in facial elaquerlect as means to hint forth what may not be openly declared. In situation the acting of Mr. Charles Kean is singularly fine. He luarsughly exhibits the intensity of the king's purpose. The voice is
but the whole soul is in it. uonstanee is a great character, strong in all her expressions of strong emotions, and only exhibited when her strength can be exhibited like-
wise. Keen in her sarcasm, bitter in her vituperation, loud in her wrath, dreamy in her melancholy, mad in her grief, she allows the ac- tress who is equal to the arduous task of representing her, ample oppor- tunity for producing the most varied effects. A thoroughly accom- plished actress in every department of her art, Mrs. Charles Kean was, of course, expected to give a most refined delineation of Constance ; but such a complete abandonment to the spirit of the scene, such a natural truthfulness of expression, as appeared in her acting, must have sur- passed expectation. One act and a little bit of another is all the space that is allowed Constance for the display of her mighty energies, but wonders are achieved within that narrow limit by Mre. Charles Kean. Of the other performers, Mr. Ryder who plays Hubert with manly Pans, and Miss Ellen Terry, who is just the Arthur that a Constance might be supposed to Beat upon, are most to be commended. Mr. W. Lacy is a fair Faulconbridge, as times go,—but Faulconbridge really died with Mr. C. Kentble. The scenery and decorations are distinguish- ed by archaeological accuracy without any " episodical " feature. Every- thing possible has, in short, been done for a play, which may be eon- sidelad one of the rarer works of the repertory, and which, therefore, every admirer of Shakspere should take an opportunity of witnessing.
The Red Vial, which still keeps its place at the Olympic Theatre, has been shorn of some of its hcrrors. The corpse that shocked when visible has faded into an unseen subject of conversation, and agonies that could not be suppressed have at any rate been shortened. By this modi- fication, which has been effected with consummate skill, all cause of ve- hement opposition is removed, but the piece, as it becomes void of of- fence, becomes weak likewise, and we cannot predict for it a long vitality.
So great has been the attraction of Mr. and Mrs. C. Mathews, at the Haymarket, that the receipts are said to have surpassed all precedent. London Assurance and He would be an Actor, remain immoveable in the bills, and are announced for the whole of next week.
PARISIAN THEATRICALS.
Without checking his genius by any slavish regard for chronology, M. Louis d'Assas has imagined an episode in the history of Greek art, and has constructed thereupon a comedy in verse, bearing the title La Trettlf de Nilo, a name, given, we need hardly say, to one of the most cele- brated relics of antiquity, now preserved at Paris. Praxiteles, according to M. Louis d'Assas, is a contemporary of Phidias and the slave of Aga- thou, a fine gentleman who hopes to figure as an amateur artist. The slave makes a statue of Venus, and the master claims it, granting Praxi- teles his liberty, as a price for secrecy respecting the origin of the great work. But Chloe, a young girl of whom Praxiteles is enamoured, has fallen into the hands of Agathon, and as this gentleman refuses to part with- her at the solicitation of the emancipated sculptor, Praxiteles de- clares that he will keep inviolate his promise of secrecy, but that Agathon shall not gain the prize for sculpture by the exhibition of the statue. He then breaks off the arms with a mallet, and thus reduces it to the mutilated condition in which it is now seen at the Louvre. Broken as it is, the statue when shown in competition with other works of art is deemed worthy of the prize, which is consequently awarded to Agathon. However, just as the impostor is about to receive the crown, the goddess Venus herself appears and demands the presence of the real artist. Pmxiteles, whose brain has been turned by the sufferings he has under- gone in the mutilation of his work, rushes upon the stage at this junc- ture, and though he is awed by the look of his former master Agathon, Phidias, who perceives the true state of affairs, places the crown upon the right head. The theatre at which this piece has been produced, is the Odeon.
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