TuE THEATRES.
THE closing of Covent Garden for the season, and the terminations! a management that raised it to a pitch of prosperity and splendse rivalling its most palmy state in the days of the KEDIBLKS, would, under ordinary circumstances, cull for a few words of notice; mutt snore now, since the eclat that has attended the retirement of the stager gives to the occurrence an interest beyond the little workld the playhouse. We are not sorry that the press of political mattes, precluded all mention of this, the only event in our theatrical chronicle
of last week ; inasmuch as it puts us in a better position for steestel clear of fulsome adulation on the one hand, and carping ill-natureoe the other, in reviewing the doings of the management, and their results,
The fact that no veteran actor, on finally quitting the stage afters long life of successful ain't to amuse the public, was perhaps ever mutt enthusiastically greeted than Mr. MACREADY on giving up his manage. rial office only, after filling it but for two seasons, is remarkable ie itself, and sufficient evidence that Ile has done an acceptable service in playgoers. The scene in the theatre on the 16th defies description: from the suffocating atntosphere of a densely-thronged house Luta forth the storm of applause' long and loud, " redoubling peal on peal:" while a shower of wreaths, bouquets, and scrolls, covered the stage... some " precious stones " descending amongst the floral hail. This sts fidlowed, on the 20thby a dinner at the Freemasons Tavern, at Ithiett a Royal Duke presided, and where nobles, orators, authors, artists, and actors, to the number of four hundred, assembled to do honour to the manager : in addition to which, "a more solid and lasting tribute" is said to be in contemplation. These things show that what Br, .MACREADY has done for the stage is appreciated as a public benefit. Passing over the oratory:, with the remark that Mr. MacitEsnee speech at the dinner was in better taste than his fitrewell address to the audience, because it recognized the cooperation of his brother perform. ers, and evinced a true sense of his own position and efforts—and that the Duke of SUSSEX proved himself a sensible and cordial chairman— we come to the main point, What has Mr. MACREADY done for the national drama ?
For dramatic literature, he has, during his managerial career, done little beyond giving an impulse to talent an the direction of the stage; he has brought forward no new candidate for fame, though he has in. cited several authors to write dramas with a view to his filling the principal character of each. Indeed, lie had done even more as a trage- dian only; for it is to him that the stage owes BULwEII, TALFOURD, and one or two anonymous dramatists; and his fine personation of Virgi- wires placed KNOWLES'S genius in an advantageous light. During the two seasons of his management, Covent Garden has only produced the Lady of Lyons and Richelieu by BULWER, and Woman's Wit by KNOWLES Mr. Taixoutto's feeble tragedy, The Athenian Captive, was brought out at the Haymarket. We attribute no blame to the manager; we only state facts.
For Covent Garden Theatre, and for the stage generally, Mr. Mu- nk:ADS' has done great things ; and if he had accomplished nothing be- yond making the theatre a place of amusement to which families can resort 'without witnessing violations of decorum tolerated in no other place where decent company assemble, he would have deserved well of his brethren and the public. In giving the " text of SUAESPERE,1 instead of the garbled " stage versions," he has taken the lead in adopting an improvement that playgoers were ripe for, and the spirit of the time rendered inevitable: but not the less merit is his, so far as he has gone. He expunged the miserable interpolations that had too long adulterated King Lear, Coriolanus, The Tempest, and Hein.y the Fifth; and partially, but judiciously, restored the original text—in the case of the last-mentioned play, however, the "restoration" was of a questionable character. In the " getting-up " of plays, and the exclu- sion of mendacious puffs from the play-bills, he has but followed the example of VEsrnis, (his successor m the management of Covent Gar- den); and it is only in the magnitude of the stage and the number of the corps dramatique, that the " scenic effects" of Covent Garden have surpassed those of the Olympic. Yet it is but justice to add, that the professions Mr. MACREADY made at his setting out have been most amply realized : his success has been answerable, and the popular gra- titude and favour is abundant. Any " pecuniary sacrifice" that lie may have made (with which the public have nothing to do) has been amply repaid by the increased reputation he has acquired—to say no- thing of his own satisfaction, and the benefit that he will enjoy, in common with other performers, front the improved position of the stage in the estimation of the community. No new actor of extraordinary talent has been brought into public notice ; though three or four clever useful performers have been put forward, and others of inferior merit have found their proper level. In forming an efficient company, and employing its combined talent to the best advantage, Mr. MACBEADY bus shown great judgment ; but he has not evinced a desire to introduce unknown talent to the public. It must be confessed, however, that on occasions when he has personally made -way for some other performer, the audience have generally had reason to regret it : indeed, he has established his own preeminence as a tragedian on a firmer basis than before. Of the eight or ten plays of &la aspEnE that have been produced, none had been so well performed altogether—that is, with so perfect an ensemble—since the time of Mrs. Stnnoss and KEMBLE. The improvements in the scenic aids of illusion have been generally directed by good taste, regardless of expense. In this particular, indeed, the representation of Coriolanus may be instanced as perhaps the most perfect in the stage annals : the Tempest, though more popular, was inferior as a work of art : of Henry the fifth we have recently recorded our opinion. But though "gorgeous tragedy" has resumed all its former splendour, and more than its -wonted pro- priety of en stume, little has been done for comedy, and farce has fallen short of fun : comedians were wanting, as well as authors, 'tis true ; but it would appear that Mr. MACREADY did not think novelty worth seeking for, either in acting or authorship. As for opera, RooKE's Amilie is the solitary work that makes the musical performances remembered. Pantomime and spectacle have been set off to the ut- most advantage, by beautiful scenery and costly "properties ;" to which, of course, their success was mainly owing. We will not enter into the question between the proprietors and Mr. MACREADY. In his address he mentioned, that a difference about terms was the cause of his retiring from the management; and the public, only feeling the loss of their favourite manager, side with him. A con- temporary tuakesa strong statement contra ; but it is a matter which after all does not immediately concern the public. So far as they are concerned, however, the new management promises to be as effective for their gratification as the late one: though perhaps in a different way. We have no fear that the drama will suffer by the change ; and we think that Mr. MACREADY may very rationally "indulge a hope" that his successors will tread in his path, without any danger of his being re- proached with cherishing "a fond delirium."
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