THE DRAMA.

Evening Star, Volume III, Issue 841, 16 January 1866, Page 2

THE DRAMA.

“THE SEA OF ICE.”

Seldom has there'been a more legitimate success than that achieved by the Management of the Princess Theatre in the production of the above drama last evening. Certain mysterious announcements in the newspapers, coupled with the knowledge that the mechanist and scenic artist had been at work day and night, had led the public to expect something of more than usual attraction; and we may add that the greatest expectations have been fully realised. That the Management has spared no expense in order to produce the piece with every possible effect, we believe, and it was evident during the performance that every artiste in the theatre had made success, or the reverse, a personal matter, and vied with the others to promote the former result. The drama is essentially 4 ‘ sensational, ” and is remarkable for a somewhat complicated, though by no means improbable, plot ; to describe the windings of which would occupy more space than we can spare, and certainly militate against our readers’ enjoyment should they visit the Theatre to witness it. We shall therefore content ourself with noticing briefly the principal characters. For originality, force, and truthful earnestness, Miss Julia Mathews deserves especial notice in her performance of Louise De Lascours in the first two Acts, and Ogarita in the latter portions of the piece. These characteristics' of Miss Mathews’ acting have been frequently acknowledged, but the special circumstances of the occasion seemed to have evoked a more than usual amount of intensity in the depth of passion, and the delicacy of emotion which are important elements in both characters. The mere points were secondary considerations in the performance, although they were given with the nicest attention to effect. The technical merit, however, was quite subordinate to that complete breadth of treatment which distinguishes Miss Mathews’ acting generally, but which was peculiarly evident in her acting last night. To single out particular portions of excellence would be invidious to the rest, but it is almost impossible not to refer in terms of strong commendation to the scene upon the 4 ‘ Sea of Ice,” where the despairing mother, frenzied with the fear of her child’s death, implores her husband to find the means of procuring a fire to save its life. We must insert a line here to praise Mr Richardson for the delicate manner in which he pourtrayed the anguish of the father, battling with the fearful temptation to destroy their only hope of rescue —the boat. The audience felt this strongly, and expressed their admiration accordingly, nor was the applause any less frequent in the last act when Ogarita braves the husband she has wedded, but to destroy. The part of Carlos, the Adventurer, afterwards the Marquis del Monte, was sustained by Mr. R. Roberts in a manner which will greatly confirm his reputation as a painstaking actor, capable of intelligently realizing the intentions of his author. In the hands of some actors we have seen, the character would have been a hideous compound of glossy jet ringlets, buff boots, and corked eyebrows. Mr. Roberts, however, dressed as an ordinary mortal, and smoked his cigarette with that polished ease which would be most likely to lull all suspicions of his sinister intentions. His Apostrophe to Gold in the first scene, was declaimed with a wisely-tempered energy, and received as it deserved a round of applause. Captain De Lascours, as we have hinted, was well played by Mr H. Richardson, and, as 44 iron sharpeneth iron,” so, no doubt, did the fervor of Miss Mathews invoke all that gentleman’s good qualities as an actor. As Horace De Brionne, Mr Herberte had but little to do, but, nevertheless, he displayed the feeling of a true artiste in doing that little well. In the last scene, his reproachful language to Ogarita, whom he regards under a misconception, was as finely played as any portion of the piece, and we were glad to find that the audience were discriminative enough to notice it. Had they omitted doing so, all other approbation expressed during the play would have been considerably lowered in value. The comic element is entirely centred in Barabas, a hybrid sailor—half cook, half cabin-boy, but especially the pet of the captain’s child. He believes himself to be a great coward, yet his exploits generally prove him the reverse, and therein lies the force of a very cleverly conceived character. Mr John Dunn entered into the spirit of the part with a determination to interpret it rightly, and succeeded. Little Laura Wiseman dimmed many an eye by her artless acting as the child Marie, especially where, clasped by her mother as the ice breaks up, she repeats the thrilling prayer for succour to that source whence alone it couM come. So enthusiastic was the audience at this scene, that not only had the curtain to be again raised, but the scenic artist (Mr Tannett) was loudly called, and had to appear before the curtain, evidently having only just relinquished his brush to do so. It would be unfair to omit mention of Miss Shepparde, who played Mdlle. Diane de Lascours ; and Miss C. Mathews, who filled the character of the Countess de Theringe. Both ladies had trifling parts, but contributed greatly to the tout ensemble. The whole of the other characters were well sustained, if we except the sailors, who neither looked nor acted as sailors generally do on board a vessel. It seemed to" be their mission to walk about in high boots polished to an extent we envied, with folded arms, as though they were mutually defying each other. Considering the majority of the individuals we refer to may reasonably be supposed to have gone a voyage in their lifetimes, we would seriously ask them whether they ever saw at one time a dozen sailors stand on the deck of a vessel with their arms folded ? In noticing a piece for which the scene painter and mechanist have done so much, Mr Tannett and Mr Heath demand more than a passing notice. As regards the former, we unhesitatingly say that he has produced a fearful picture of the frozen deep, terribly natural, and with a perspective reaching for miles, which, when we consider the'small size of the stage, is startling. The other scenery is also much better than usual. The breaking up of • 4 the impassive ice” is well managed, and conveys a vivid picture of what such a scene might be expected to be. Altogether it is a creditable production, and should result in the manager reaping the well earned harvest of his enterprise in providing so liberally for the public amusement.