THE THEATRES.
MR. TALrotritn's tragedy, The Athenian Captive, on its first perform- ance at the Haymarket on Saturday last, met with the triumphant reception we predicted for it in our review of the published play.* The less flattering part of our prophecy seems likely to be fulfilled also ; for it does not promise to retain a lasting bold of the stage, not- withstanding the enthusiasm of the audience on the first night. It presents some striking stage situations ; but these depend for their effect more on the talent of the actors than on the power of the dia- logue. There is a want of reality in the characters and incidents ; arid the point on which the whole interest turns is defective. Thoas, "the Athenian Captive," is the hero : his remorse at having killed a feeble old man, in cold blood, is the main passion of the drama ; and his ex- piation of the guilt, by stabbing himself, forms the d6nouement of the acted version. Thoas is not the ideal of a patriotic warrior of the antique world : be is actuated by a chivalrous sense of honour and conscience rather than by the Greek superstition of Destiny, which 'would have made the homicide appear, in the circumstances, a sacred act of duty. Ismene, however, is the principal person : Thoas, her son, is only the instrument of her vengeance, and his death is the punishment of her misdeeds. In the published play, she is represented rushing into a "poisoned cavern," in despair,—which is the proper ter- mination of the tragedy : in the stage version, she is merely struck speechless with horror—we are left in uncertainty as to her fate; and poetical justice is not satisfied. The character of this formidable woman, though but a sketch, is a grand outline in the severe style of the classic drama: it is not quite original, however, being partly made up of features from Medea and Lady Macbeth. We have a reminis- cence of Macbeth, too, in Thoas; and the testy old King reminds one of Lear, though wanting regal greatness. The interest languishes until Ismene is brought into prominent action in the third act ; and the scenes in which she takes no part are feeble : that where she first appears and whispers into the ear of Thoas, who hesitates between death and slavery, the monosyllable " Live !" in a hoarse under- tone, like the voice of Fate, failed of its effect, because the audience were not prepared for it, and knew not what to make of her character. Macau:Am depicts the agony of conscience that tortures Thoas, with harrowing vividness; but we do not sympathize with his suffer- ings to their full extent : the Captive aggravates his guilt by dwelling on the love and friendship he shares with Hyllus and Creusa, the son arid daughter of the King ; but these weigh light against the palliating circumstances. Creon is a heartless tyrant, and the inveterate foe of Athens ; be has not only made a slave of Thom, who generously saved his son's life, but banishes that son for pleading for his generous preserver : he spurned Ismene, when, torn from her home and her child, she implored his mercy ; and he insults both in his toast " Ruin to Athens." The death of such a brutal king excites no pity ; while the endearing sentiments that connect Hyllus and Creusa with Thoas are of so sudden growth as to make them appear fictitious. The interchange of compliments between these parties is fulsome; and the scene where Thoas at the entreaty of Hyllus gives up his arms, mak- ing a pretty speech as he parts with helmet, sword, and shield seriatim, is rather sickly. A Greek warrior would not have indulged in such
effeminate regrets, but have manfully submitted to his doom in silence : nor would he have committed the foolish extravagance of dashing down "the votive cup" when the king drinks " ruin to Athens :" his death being the certain consequence of such rashness, Ise would have killed his exulting foe, if he had done any thing, and not
been content with a claptrap piece of declamation. This coup de thedire, by the by, did not produce time electric effect we had antici. pated, notwithstanding the vehemence of MACREADY'S burst it was felt to be unreal. The most exciting scene—the only one, indeed,
where dramatic power and pathos are developed in time dialogue—is
that in the third act, where Ismene recites her story to Thorts, to rouse Lim to revenge her wrongs. Mrs. WARNER, as she stood majestically
with upraised arm, looked like some Greek statue animated with the soul of an injured woman her eyes flashed fire, the blood mantled in her cheeks, and her form seemed to dilate with passion—she almost reached the sublime. The interest of the lust act is thrilling. All are assembled in the temple, waiting the voice of the oracle to denounce through Ismene the tnurderer of Croon: the suspense is fearful : Ismerme
is seated on a throne, enduring throes of mental agony, till at last she rises and points to Hyltus : in vain does Thong remonstrate with her ; she persists, and the hesitation nerves her with fresh courage : the priest raises the sacrificial knife—and at that moment Thoas stabbed by his own hand, and confesses himself the murderer ! This scene is finely conceived ; but it depends Oil stage situation and the skill of the actors for its effect : it owes little to time writing.
The powerful acting of Mrs. WARNER and MACREADY did every thing for the play; Alaciteany, however, might better be dispensed with than Ales. WARNER, upon whom rested the classic dignity and • Vide speetat,r, 5th May MS; No 514, p. 422. never saw het to greater advantage—not even in The Bridal: Ilse other cha:racters Were very inadequately filled. Mr. WALDRON tOok great pains to express the petulance and infirmity of Crean; but be made the impotence of the old man more evident than the despotic power of the tyrant. It is Mr. GLOVER'S misfortune that he could not look the character of Hyllus ; but to his want of talent must be attn. bated the notion he gave us that his red mantle ought to have been le old-clothes-bag. Miss TAYLOR, as Creusa, may be taken as a type of the drama itself—a shapely form lightly clothed in classic drapery, and garlanded with flowers, but wanting vigour and vitality. There were other disadvantages attending its production at the Haymarket; among which, the ludicrously inappropriate scenery is the most glaring : never. theless, we cannot but think that it will last longer on that small stage than on the larger and more classic one of Covent Garden.
The learned author was recognized in a private box, and came for. ward at the call of the audience, to acknowledge their enthusiastic greetings. lofty grandeur the action : and nobly she sustained them ; V
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