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Updated: June 19, 2025
Knowles, while writing "The Hunchback," was so absorbed with the idea of what Kean's impersonation of it would probably be, that he was entirely unconscious of what the great actor himself probably perceived, that on the stage the part of Julia would overweigh and eclipse that of Master Walter.
A violent tirade against noblemen ensues, and Lord Melbourn slinks away, disappointed, to meditate revenge. Kean's triumphs continue through all the acts: the Ambassadress falls madly in love with him; the Prince becomes furious at his ill success, and the Ambassador dreadfully jealous.
I know that the two actors were not on speaking terms, but very likely Macready had come to see my father or Mr. Harley or one of the many members of Kean's company who had once served under him. The period when I was as vain as a little peacock had come to an end before this. I think my part in "Pizarro" saw the last of it.
In days gone by Madame Leclerq, Carlotta Leclerq, Charles Kean's Columbine in the seasons of 1850-1-2, E. Dennett, Emma Boleno, died October 18th, 1867, aged 35; Marie Charles, who died from an accident by fire, Pavilion Theatre, January 21, 1864, and others have won considerable fame in the part of Columbine.
I could account, in the latter instance, for the little approbation of the performance manifested around me, and also for the general scepticism with respect to Mr. Kean's acting, which has been said to prevail among those who cannot condescend to go into the pit, and have not interest in the orchestra to see him act. They may, then, stay away altogether.
Whoever has witnessed Kean's superb delineation of the ruthless Richard in the scene where, in the illusion of his dying agony, swordless, he continues to lunge and feint, may comprehend the frightful mental overturn which prompted Raikes to sink inertly into a chair near the table, and with foam-flecked lips fall to counting, one by one, the miserable coals in the dull heap before him.
Our enjoyment of Charles Kean's presentation of Henry the Eighth figures to me as a momentous date in our lives: we did nothing for weeks afterwards but try to reproduce in water-colours Queen Katharine's dream-vision of the beckoning, consoling angels, a radiant group let down from the skies by machinery then thought marvellous when indeed we were not parading across our schoolroom stage as the portentous Cardinal and impressively alternating his last speech to Cromwell with Buckingham's, that is with Mr.
He forgets that power is universally felt and understood, and refinement seldom the one or the other, and for a thousand who applaud Kean's "What, wouldst thou have a serpent sting thee twice?" probably not ten people are aware of his exquisite "nevertheless" in the reading of Antonio's letter.
My old friend Rose Leclercq, who was in Charles Kean's company at the Princess's when I made my first appearance upon the stage, joined the Lyceum company to play Olivia. Strangely enough she had lost the touch for the kind of part.
All "calls" were made from the greenroom in those days, and its atmosphere was, I think, better than that of the dressing-room in which nowadays actors and actresses spend their time during the waits. The greenroom at the Princess's was often visited by distinguished people, among them Planché, the archaeologist, who did so much for Charles Kean's productions, and Macready.
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