THEATRE ROYAL.

Globe, Volume XXIII, Issue 2192, 5 March 1881, Page 3

THEATRE ROYAL.

“THE MERCHANT OE VENICE.'* “ The Merchant of Venice ” it one of the moat papular of all the plays by our great author, and the character of Shylock is one of the most widely known and appreciated of all those which he baa pourtrayed. And this results from many causes. Mingled with the more serious scenes there is a charming underplay of lighter matter that serves to relieve..'tho feelings of the listener. “Othello ” is a picture painted throughout in the darkest colors. Hardly a single gleam of pleasurable emotion lightens the pervading tone. The play opens in semi-gloom and closes in total and horrible darkness. But the “ Merchant of Venice " is a picture painted with the strongest contrasts of light and shadow. There is the Jew with bis avarice and his h

oodthirsty hatred of Antonio, the incident of the loss of hia daughter, and the final catastrophe. There is Antonio with hia noble fortitude. But, on the other band, there are the charming Portia, Basaanio and the casket incident, and Nerissa, with her frolicksome lover. Moreover, there ia a strictly medimval smack about the play which ia pleasing to many. It gives us a glimpse into a state of society when things were not aa they are now, to a larger extent than most of Shakespeare's plays. Herr Bandmann in his last night's impersonation of Shylook was decidedly*auooessful. Ho was more subdued throughout the whole impersonation, and (he points were brought out none the less forcibly in consequence. Hie acting in the trial scene was admirable and forcible. His delineation was original, and throw many new lights on the rendering of familiar passages. We certainly think his high reputation in this character was well borne out by the power with which he brought it out, and evidently the audience were quito_ of this opinion, for at the conclusion of the play he received a perfect ovation. Miss Beaudet, as Portia, was all that could bo asked for. The playfulness and dignity of the character were sustained alternately with the greatest skill. In the casket scene her by-play was admirable, and wo can only regret that the last act was omitted, aa it would have given to the audience a further opportunity of seeing her in a situation which would suit her versatile talents "down to the ground.” Mr Oathcart, in Antonio, was hardly so successful as wo have seen him. Mr Hall's JBassanio was decidedly good. Mr Reynold's Gratiano was lively in the extreme, without verging on the burlesque. Taken altogether last night's performance was a great success. The only fault to be iou d in it was that the scenery was occasionally not up to the mark. In the trial scone the Court of Justice was on a somewhat primitive model, but “ Shakosperian revivals ” cost money, and the good people of Christchurch can hardly expect large sums of money to be expended on scenic effects if they are as apathetic as they generally are. Last night the lower part of the house was well filled with a large and appreciative audience, but those who are pleased to call themselves the “Upper Ten,” and who, on the rare occasions when they visit the theatre to interview a OhristyMinstrel troupe, sit in the boxes, were conspicuous by their absence. These gentry have a knack of grumbling that nothing good is

aver provided for their benefit, and they have been known to meet together and talk twadd os to the degeneracy of the stage, and the best mean* of purifying It, But when a real tjaod company appears and gives the classics in a manner which all must admire, and should be thankful for, the “ Upper Ten ” show their intellectual superiority in remaining away. These things are possibly a parable, oipable of another solution than that our aristocratic friends are grossly apathetic and unappreciative, preferring the digesting of a good dinner, and the keeping of their bawbees in their pockets to encouraging true artists in their laudable undertaking, “ Macbeth ” will bo presented to-night.