AMUSEMENTS.

New Zealand Times, Volume XXX, Issue 4482, 31 July 1875, Page 1 (Supplement)

AMUSEMENTS.

(From the New Zealand Mail). "A crown's worth o£ good interpretation." —SII.tKsrjEEE. I am not prepared to say that Mr. Harrison Ainsworth's varied versions of different periods in English history are without attraction ; neither, indeed, am I inclined to assert that they are less usefid in point of accuracy than many, professedly written, historief purporting to have nothing of imagination tbout them. But I think every one will agree with me, nevertheless, that the student who derived his knowledge of English history from Mr. Ainsworth would scarcely be a person possessed of reliable information. In a play, therefore, founded rather upon Mr. Ainsworth than upon history, it would be hypercritical'to seek for accuracy of incident, character, or fact, and therefore I am quite content not to be dissatisfied with "The Tower of London" because it permits fancy literally to play havoc with history. We are assured by many competent to judge, and I am myself certain, that Shakspere made fact subservient to fancy in more than one of his historical plays. With this characteristic, however, any similarity which might exist between the work of Shakspere and the work of the author of " The Tower of London" ends. Shakspere was—Shakspere. What the other was or is I can only judge from his play, and that is of so puzzling a character that I am at some difficulty to tell the exact class under which I should rank his incongruity. I paid some attention to " Tho Tower of London," but I confess I understood rather less of its plot and characters at the end of that attention than I did at the beginning. The plays opens by the entrance of two gentlemen, who may be nobles of England, or may be pickpockets of the period, there being nothing in their manners or customs to indicate to which rank they belong. They converse mysteriously about a plot, of what nature or against whom, it is left to the imagination of the audience to discover. There then come upon the scene a French ambassador and a Spanish ambassador. The French ambassador shut his eyes when he talks, in order more clearly to indicate his nationality, and the Spanish ambassador sneers malignantly, as is the habit of his nation. These two gentlemen are also in the plot, but do not consider it necessary to let any one know anything about it. However, each announces in the most liberal fashion that he will take the whole execution of the affair upon himself. The Duke of Northumberland makes his apjiearance, and at once proceeds to exhibit his haughtiness of disposition, and his love of power, by ordering an attendant to half-a-dozen places at once. There is next a magnificent entrance of Lady Jane Grey as Queen, surrounded by a glittering crowd of ladies and courtiers, and cheered by the London populace, to the number of—say four. For some unknown reason, all these parties come together on their way to the Tower of London, when their progress is suddenly interrupted by the advent of a lady in a bright red dress, who warns Lady Jane Grey not to go to the Tower, but whether because on account of its damp situation influenza is prevalent there, or whether because the lady in red considers her an intruder, is not exactly shown. Tho loyal courtiers and populace at once proceed to seize the lady in red, but the Queen intercedes for her, and informs the pit that she dearly cherishes the liberty of Englishmen. The next scene is one of revelry, in which the less dignified characters of the piece eat voraciously of pasteboard pies, and, as Dickens said, take deep draughts of nothing out of empty goblets. The revelry is disturbed by a ferocious gaoler who loves the Kose of the Towel - , a young lady with no particular reason for being in the drama except to be loved. As a. conclusion to the festivity, a local preacher of the time is smothered, in flour, a piece of delicate comedy which so delighted the audience that they insisted on the curtain being raised upon the spectacle. This concludes the first act. In the second the Queen says her prayers in black velvet, and the Duke of Northumberland and the Spanish ambassador mutually defy each, the Litter having also a narrow escape of being killed by the ferocious gaoler, who has been bribed by the Spanish ambassador to effect that end. A giant of about sJft. in height makes love to a lady, who comes on the stage with about as much connection with the plot as any of the previous characters, and the same giant belabors the local preacher, who turns out to be a rival. There is also some incidental fighting and escaping by means of secret panels on the part of the more prominent characters. In the third act the plot progresses so far as to reveal to the spectators one fact, that the Queen cannot get out of the Tower, and the Duke of Northumberland is led to execution, having previously caused his son to take an oath which, in strict accordance with the uniform plan of the drama, is kept a secret from the audience. Another oath is taken between Earl Dudley and a virtuous character in lave with the Hose of the Tower ; and tho virtuous character informs every one, in a soliloquy, that he intends to burn the Tower and let the flames conaumo him, in furtherance of which object he obtains a key to a certain chamber from tho giant. From this chamber ho witnesses tho execution of the Queen, whose back hail- is thrown about bj the executioner, and shoots tho Spanish ambassador, being immediately shot by some unknown hand himself, and dying upon tho stage instead of keeping his promise relative to cremation.

With the exception of the "Tower of London " there has not been much of novelty at tho Theatre Koyal. "Mother Carey's Chickens" and "Naval Engagements" wore pieces of the occasion, though that does not prevent its being noticed that the latter was especially well played, even down, to the minor parts —Mr. Douglas malting quite a hit as tho Irish serving man. " Eomeo and Juliet," too, though a reproduction during the present season, was not without its lesson. We knew what Miss Colvillc's Juliet was. Ido not think that all were prepared for the Mercutio of Mr. Hoskins, though it is but justice to say that it is the part he should have taken on the first production of the piece. Had Mr. Douglas only as great and as well advertised a name as other actors have, who, by accident of foKune,' come to bo stars, his Eomeo would lr tracted quite as much attention as 1 bestowed on sonio recent indifferent at representing certain of Shaksper And in Mr. Douglas's case the would not have been misplaced, £' no means au indifferent attempt