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Mr. Ira Aldridge, who has made his debilt at the Lyceum in the cha- racter of Othello, has created on the whole a favourable impression. His elocution is careful almost to a fault, shcwing a conscientious diapo- salon to declaim well, which is somewhat marred by the quality of the voice. With the tender side of the character he shows much sympathy ; and, strange to say, those portions of the play, in which generally the least effect is produced, are precisely those which in Mr. Aldridge's hands are the most satisfactory. 'In the great stormy scenes noise is the substitute for passion, and even that noise is not very skilfully directed. Altogether, we have just such an Othello as an industrious intelligent artist would naturally produce by the expenditure of a certain amount of mental labour, in the absence of a distinct conception of character and of that mysterious impulse, which goes by the name of inspiration. The great point of interest, after all, is that so fair a specimen of histrionic art has been produced by a man of colour.
Mr. Aldridge's exclusive advantage in combining a knowledge of the theatrical profession with the features and complexion of the African race, his German eulogists have done their best to destroy. Anything more monstrous than the "opinions of the foreign press," that are now Printed in English as puffs for Mr. Aldridge, cannot be conceived. From the circumstance that he is the only man of colour on the stage, let him derive every benefit ; but when his friends thrust upon the world, the declaration by a Viennese critic, that "he is, without exception, the greatest European actor that ever lived," they challenge the English Public to test him by a standard that is totally unsuited to a talent of the kind.
By the rest of the company Mr. Aldridge is but indifferently sup- ported. Desdemona is played not by Mrs. Charles Young, but by Miss Annie Ness, a young lady, who has the air of an intelligent novice, and rimy make a figure—in due time.
PARISIAN THEATRICALS,
Jean Bart, the most popular of French naval heroes, has just became the subject of a new drama written by M. Hugeltnann, and produced at the Porte Saint Martin. This is, by no means, his first appearance on the Parisian stage. In 1815, there was a melodrama by M. Frederie Dupetit-Mere, entitled Jean Bart on is Voyage de Pologne, and since that period he has often figured in lighter pieces, as the type of an old French seaman. He is indeed one of those personages that a people never for- gets, being essentially a man of the people, with something of oddity superadded to his glory. The son of a poor fisherman at Dunkirk, rising to the rank of Captain and of chief of a squadron by his indomitable courage, in spite of the regulations that allowed none but persons of gentle birth to become officers in the French navy, treated with marked favour by Louis XIV., who reproves his courtiers when they laugh at the uncouth veteran, he is revered as a fine specimen of unsophisticated valour, and something of an approving chuckle is mingled with the admiration. One of the memorabilia of Jean Bart is the characteristic speech that he made to the Prince de Conti, (nephew of Louis XIV.,) who had re- cently been elected to the throne of Poland by a party of nobles, and was sent as far as Elsinore under the protection of the bluff hero. On the way thither they were attacked by the English, and when the danger was over the Prince could not help expressing his joy that he was still .at liberty. "There was no fear that we should become prisoners," coolly obseived honest Jean; " my son was in the powder-room, and he would have blown us into the air if we had been forced to surrender."
It is on the expedition of the Prince de Conti to Poland that IL Hugelmann has founded his play. Jean Bart is entrusted by Louis XIV. with that invaluable treasure the royal prince, but, in spite of the honour, his mind is occupied with matters that have no connexion with his gallant vocation. He has found in his wife's strong box a collection of ardent epistles, addressed to one' Mademoiselle Helene, and abound- ing in mysterious allusions to a child: Therefore, reflecting that Ilelemt is the name of his wife, he arrives at the conclusion that he is not the veritable father of his beloved son Francis. His perplexity is increased, when, on seeing the handwriting of the Prince of Conti, he perceives thatit is the same as that in the detestable letters. His first impulse is- to take the vengeance which is offered to him by his position, but he quells the dishonourable thought, and takes his prince handsomely to Dantzie. Here they are waylaid, and confined in a fortress by the Palatine of Volhynia, who on private as well as on political grounds is a foe to the Prince de Conti. For the Helene mentioned in the letters is the wino, not of Jean Bart, but of the Palatine, who is resolved to avenge herself on the author of his dishonour. Madame Bart, who has simply been the confidant of the erring lady, and has followed the traces of her husband, is much grieved at the doubts thrown upon her virtue—and what is worse, the presence of the Palatine prevents Conti from saying the few words that would remove the suspicions of Jean Bart. During the confinement of the Prince, Frederic Augustus has been raised by the diet to the throne of Poland, hut this political defeat of his rival does not satisfy the vindictive Palatine. He tries to prevent the departure of the Prince, and Conti only escapes through the valour of Jean Bart ; who,. placing himself by the powder-magazine, threatens to blow up the fortress, thus peforining on shore the feat which, according to history, took place on the sea. On the homeward voyage Jean Bart is made completely comfortable with respect to his wife's virtue, and after a sea- fight in which the offepring of the Prince de Conti and the Countess Palatine, saved by Jean Bart from the vengeance of the watchful hus- band, is among the slain, the veteran may be supposed to retire to his native Dunkirk. .
This drama is so far disappointing that it does not realize the popular idea of the very popular hero. Jean Bart, the last man in the world to be associated with the notions of leve and jealousy, is made to look very like one of the unfortunate husbands of Moliere. Reported to have been ignorant of the arts of reading and writing, he seems utterly out of his element when a discovery of letters subjects him to mental torture. In a word, the Jean Bart of the new piece, which bears his name, is not the Jean Bart of the French people. The Bourgeois Gentilkomme of Moller; which had not been played for six years was revived at the Theatre. Francais on Saturday last, not only with all the intermedes, but with the music of Lulli. The whole comic force of the house is employed in the reprecentation. A military spectacle, entitled Ie Mor.rebel de rillars has been pro- duced at the Thatre du Cirque.
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