ORIGINAL REMARKS-SKETCHES-MEMOIRS COSTUME EMBELLISHED WITH AN ENGRAVING, From a drawing taken in the Theatre during representation. LONDON: JAMES PATTIE, 4, BRYDGES STREET, COVENT GARDEN. As performed at the Royal Victoria Theatre. Mr. Ashfield, (a manufacturer) Edward Warner, Tom Harris, Dick Snipe, Will Brown, Harry Moseley Mr. Loveday. Mr. Maddocks Workmen in the Mr. Archer. employ of Messrs. Mr. Varnby Ashfield & Co. Mr. Johnson. Mr. Scriven. Joe Greener, (a workman out of employ,) Captain Ashfield, Patrick, (Captain Ashfield's servant,) Mary. (Wife of Edward Warner,) Costume, EDWARD WARNER.-1st dress, Drab jacket-knee breeches to match-red waistcoat-gaiters-shoes-white hat. 2nd dress, Shabby great coat and dark trousers. TOM HARRIS, -Velveteen coat, large white buttons -dark trowsers-red waistcoat, and countryman's hat. JOE GREENER & WORKMEN. dresses. Countrymen's TIMOTHY GUZZLE.-Browncoat-corduroy breeches -worsted stockings-striped waistcoat-highlows. CAPTAIN ASHFIELD.-Blue surtout coat-scarlet sash-white trowsers-military cap. PATRICK.-Red coat-blue trowsers-military stripe MARY.-Plain villager's dress. STAGE DIRECTIONS. The Editor of this Work prints no Plays but those which he has seen acted. The Stage Directions are from personal observations, during the performance. R. means (Right.) L. (Left.) C. (Centre) R. C. (Right of Centre.) L. C. (Left of Centre.) D. F. (Door in the Flat, or Scene running across the back of the Stage.) C. D, F. (Centre Door in the Flat.) R. D. F. (Right Door in the Flat.) L. D. F. (Left Door in the Flat.) R. D. (Right Door.) L. D. (Left door.) S. E. (Second Entrance.) U. E, (Upper Entrance.) REMARKS. The Factory Strike. THIS piece is of the democratic description. The sentiments are all on the side of the people and delivered with terrible anathemas against machinery. Tories, as we are, we do not like to see liberalism going the "whole hog" on the boards of a theatre. Fortunately, in this instance, the contagion could not spread very far as the treasonable words were uttered within the walls of the Victoria, a theatre, which rarely boasts a numerous audience, and seldom, or ever, a respectable one. It is but justice, however, to the performers, who sustained characters in the Factory Strike, to say, they fully realised the conceptions of the Author. Mr. Thomas Archer, the representative of Tom Harris, played so naturally and so well, that we could not but regret his secession from the Patent Theatres. This gentleman is worth a hundred such actors as Cooper, Warde, and George Bennet, and must ere long resume that position in the drama, which envy and malice has too long kept from him. Mr. Macready will understand this remark. Mr. Maddocks, who played Warner, and Mr. Vale, who personified Timothy Guzzle, contributed greatly to the success of the piece; indeed, Mr. Taylor, (not the Lessee of Sadler's Wells, but a son of Charles Taylor, of Covent Garden,) is greatly indebted to the exertions of the whole of the performers for the success and dissemination of his ultra liberal principles. Mr. Taylor, is a patriot in his little tiu pot way, but the same end awaits theatrical as well as political patriots. "They strut, their hour upon the stage, And then are heard no more.' "" Dazzled by the false lights of vanity and pride, they feed themselves with the intoxicating delusion of acquiring the envy and notice of all, and fancy themselves heroes in soaring above their more sober brethren, using, as the basis of their elevation the voice of the multitude; and for the attainment of this, they sacrifice every other con 68 sideration, and barter quiet and content to gain not a fadeless reputation” but “a name." But the phantom soon vanishes, and with it the dreams of splendour their imaginations had conjured up; the will-o'-the-wisp they had been following disappears in the hour of danger, leaving them to extricate themselves as they may from the mazes of perplexity and error. It is then, mistaken man will learn that he stands on an infirm footing when he relies on the multitude as the props of his ambition, or the corner-stones of his fame; for they, fickle as the changeful winds, veered about by every blast of fortune, to-day blazons your name to the stars, to-morrow loads it with obloquy. It is too frequently the case, also, that on an inspection, the motives of these populer characters will be found to be far from honourable, and that it is seldom merit preponderates in the scale of notoriety. Starting forward with a long list of professions of patriotism and love for mankind, they dazzle the bewildered imagination of the vulgar, and enjoy the huzzas of the crowd, when their hearts are secretly bent on self-interest, or actuated by envy and private pique; and to attain this, they trample down the bonds of social order, and turn a deaf ear to the dictates of reason and truth; in short, "How low the slaves will stoop to gorge their lusts." We are perfectly aware an objection might be started, that a good man might obtain popularity by his good works -it might be so-but nine times out of ten the truth will be on our side.-Real charity, real virtue, real patriotism, will prefer seeking out the cottage of the poor, and drying the eye of the afflicted in privtae, or working for the good of the community in his own circle; for the feelings of the hearts of the possessors of these inestimable virtues will reward them better than the equivocal applause of the multitude-and he "Who builds a church to God, and not to Fame, PHILO DRamaticus. |