| Citation |
MJ.782.035
19 Mar 1782:32 (9/12 446)
For the Maryland Journal. On Tuesday last was performed, at
the New Theatre, the Tragedy of Venice Preserv'd, with
universal and deserved applause. The character of Belvidera
was supported with great judgement and fine feelings, by
Mrs. Robinson. In the dagger-scene, her agitation at the
frantic expressions of Jaffier, are scarce to be described;
but the parting in the fifth act was uncommonly excellent.
The expression in her countenance, at Jaffier's recommending
their little infant to her peculiar care, drew tears from
almost all the audience; not do we ever remember seeing the
frantic dying-scene supported with such exquisite
sensibility. This lady is possessed with an excellent
voice, to describe the tender passion; if she has any fault,
she repeats her lines rather too fast; but this may be
easily improved.
--Mr. Heard, in Jaffier, convinces us he can be as excellent
in the tragic path, as he is great in the comic. We would
wish him to avoid rather too indolent a manner in his walk,
and correct a rather ungraceful recline in his body. His
countenance and voice, at the bequeathing the dagger to
Renault, with Belvidera, expressed the most tender feelings
of the heart. Another fault, if it may be called a fault,
occurs to our remembrance; he appears dashed at any little
noise that happens amongst the audience; which accounts for
a very sudden change in his countenance in the dagger scene:
Notwithstanding which, we must do him the justice to say,
that his attitude in drawing the dagger was elegant; and the
bursts of applause that succeeded, at his embracing
Belvidera, is a convincing proof of the effects of fine
acting. But never were the passions of an audience stronger
moved, that in the parting scene: He and Mrs. Robinson were
no longer actors; they were pictures of the most exquisite
distress. The awful silence during the repetition of the
prayer was universal: Their attitudes at the tolling of the
bell astonishing: And the countenances of each, at the
recollection of their infant, must have been forcible felt
by the hearts of sensibility -- Mr. Wall, in the character
of Pierre, was greater than any we remember to have seen him
in. His description of Jaffier's distresses was really
moving; his upbraidings, when parting with him, prejudiced
us much in his favour; and the fate of the nobly-minded
conspirator was sincerely lamented. At the place of
execution, he filled us with the most exalted notions of the
hero and the dying-man. We recommend it to him, not to
recall his words when he happens to misplace them; and
advise the managers to get a more respectable looking
Senate. The fate of this tragedy chiefly depend upon the
three characters above-mentioned; yet we could wish the
other performers to be more perfect; for we are sorry to
give it as our opinion, that Belvidera's female attendants
expressed, in their silent parts, countenances far more
picturesque of sensibility. [signed] Philo-theatricus.
March 9, 1782.
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