Tried
both ways--not reading some beforehand; but I found I gain'd most by
getting that sort of mastery first, if the piece had depth. (Surface
effects and glitter were much less thought of, I am sure, those
times.) There were many fine old plays, neither tragedies nor
comedies--the names of them quite unknown to to-day's current
audiences. "All is not Gold that Glitters," in which Charlotte Cushman
had a superbly enacted part, was of that kind. C. C., who revel'd
in them, was great in such pieces; I think better than in the heavy
popular roles.
We had some fine music those days. We had the English opera of
"Cinderella" (with Henry Placide as the pompous old father, an
unsurpassable bit of comedy and music.) We had Bombastes Furioso. Must
have been in 1844 (or '5) I saw Charles Kean and Mrs. Kean (Ellen
Tree)--saw them in the Park in Shakspere's "King John." He, of course,
was the chief character. She play'd _Queen Constance._ Tom Hamblin was
_Faulconbridge,_ and probably the best ever on the stage. It was an
immense show-piece, too; lots of grand set scenes and fine armor-suits
and all kinds of appointments imported from London (where it had been
first render'd.) The large brass bands--the three or four hundred
"supes"--the interviews between the French and English armies--the
talk with _Hubert_ (and the hot irons) the delicious acting of _Prince
Arthur_ (Mrs. Richardson, I think)--and all the fine blare and court
pomp--I remember to this hour. The death-scene of the King in the
orchard of Swinstead Abbey, was very effective.
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