Another visit to see Kean was intended, and Henry’s acquaintance with the theatre world again emphasised. The party went to Drury Lane on the evening of 5 March, attending the eighth performance of The Merchant of Venice. Austen’s initial response to the latest acting phenomenon was calm and rational: ‘We were quite satisfied with Kean. I cannot imagine better acting, but the part was too short, & excepting him & Miss Smith, & she did not quite answer my expectations, the parts were ill filled & the Play heavy’ (Letters, p. 257). Hazlitt, too, frequently complained that one of the problems of the star system was filling up the smaller parts. In his review of The Merchant of Venice, he was only grudgingly respectful of the minor roles.
Kean was still very much on Austen’s mind, for in the same letter, in the midst of a sentence about Henry Crawford and Mansfield Park, she unexpectedly reverted to the subject of him with greater enthusiasm: ‘I shall like to see Kean again excessively, & to see him with You too; – it appeared to me as if there was no fault in him anywhere; & in his scene with Tubal there was exquisite acting’ (Letters, p. 258).
Jane Austen was conscious of the dramatic demands of Shylock’s scene, which required the actor to scale, alternately, between grief and savage glee. Her singling out of this particular scene was no doubt influenced by the reports of the opening night, where the audience had been powerless to restrain their applause. Kean’s biographer noted the subtle intricacies of the scene in the third act ending with the dialogue between Shylock and Tubal:
Shylock’s anguish at his daughter’s flight, his wrath at the two Christians who had made sport of his suffering, his hatred of Christianity generally, and of Antonio in particular, and his alternations of rage, grief and ecstasy as Tubal enumerated the losses incurred in the search of Jessica – her extravagances, and then the ill-luck that had fallen on Antonio; in all this there was such originality, such terrible force, such assurance of a new and mighty master, that the house burst forth into a very whirlwind of approbation.38
For many critics, the greatest quality of Kean’s as Shylock was his ability to change emotional gear at high speed, to scale the highest points and the lowest. Thus Hazlitt:
In giving effect to the conflict of passions arising out of the contrasts of situation, in varied vehemence of declamation, in keenness of sarcasm, in the rapidity of his transitions from one tone and feeling to another, in propriety and novelty of action, presenting a succession of striking pictures, and giving perpetually fresh shocks of delight and surprise, it would be difficult to single out a competitor.39
Kean’s acting style was hereafter characterised as impulsive, electric and fracturing. ‘To see him act’, Coleridge observed famously in his Table Talk, ‘is like reading Shakespeare by flashes of lightning.’40
In contrast to her reaction to Kean, Jane Austen was disappointed with the performance of her old favourite Elliston. The programme that night included him in an oriental ‘melodramatic spectacle’ called Illusion; or The Trances of Nourjahad. The Austen party left before the end:
We were too much tired to stay for the whole of Illusion (Nourjahad) which has 3 acts; – there is a great deal of finery & dancing in it, but I think little merit. Elliston was Nourjahad, but it is a solemn sort of part, not at all calculated for his powers. There was nothing of the best Elliston about him. I might not have known him, but for his voice. (Letters, pp. 257–58)
Henry Crabb Robinson also saw Elliston as Nourjahad and wrote in his diary that ‘his untragic face can express no strong emotions’. Robinson admired Elliston as a ‘fine bustling comedian’, but thought that he was a ‘wretched Tragedian’.41 Austen’s observation that Elliston’s brilliance lay especially in his comic powers was a view shared by his critics and admirers. Charles Lamb thought so too, but was afraid to say so when Elliston recounted how Drury Lane was abusing him. Lamb recorded: ‘He complained of this: “Have you heard … how they treat me? they put me in comedy.” Thought I – “where could they have put you better?” Then, after a pause – “Where I formerly played Romeo, I now play Mercutio.”’42
Austen’s ‘best Elliston’ was altered from his glory days at Bath and his early promise at Drury Lane as a result of physical deterioration brought on by hard drinking. His acting powers had steadily declined. From managing various minor and provincial theatres, he finally became the lessee and manager of Drury Lane from 1819 until 1826, when he retired, bankrupt through addiction to drinking and gambling.
Elliston’s acting talent suffered when he threw his energies into his multifarious business ventures. The London Magazine and Theatrical Inquisitor observed that in later years he had fallen into ‘a coarse buffoonery of manner’ and Leigh Hunt oberved that he had ‘degraded an unequivocal and powerful talent for comedy into coarseness and vulgar confidence’.43
Three days after seeing Kean and Elliston at Drury Lane, Jane Austen went to the rival house Covent Garden to see Charles Coffey’s farce, The Devil to Pay. ‘I expect to be very much amused’, she wrote in anticipation (Letters, p. 260). Dora Jordan played Nell, one of her most famous comic roles. The party were to see Thomas Arne’s opera Artaxerxes with Catherine Stephens (1794–1882), the celebrated British soprano who later became Countess of Essex. She was, however, less excited by the opera than the farce: ‘Excepting Miss Stephens, I dare say Artaxerxes will be very tiresome’ (Letters, p. 260). Catherine Stephens acted Mandane in Artaxerxes, a role in which Hazlitt thought she was superb, claiming that he could hear her sing ‘forever’: ‘There was a new sound in the air, like the voice of Spring; it was as if Music had become young again, and was resolved to try the power of her softest, simplest, sweetest notes.’44 Austen’s response was just as she expected: ‘I was very tired of Artaxerxes, highly amused with the Farce, & in an inferior way with the Pantomime that followed’ (Letters, p. 260). However, she was unimpressed with Catherine Stephens and grumbled at the plan for a second excursion to see her the following night: ‘I have had enough for the present’ (Letters, p. 260).
Neverthless, in spite of a cold, she joined the party to see Stephens as Mrs Cornflower in Charles Dibdin’s The Farmer’s Wife, a role created for her musical ability and her talent in low comedy:
Well, we went to the Play again last night … The Farmer’s Wife is a musical thing in 3 acts, & as Edward was steady in not staying for anything more, we were at home before 10 – Fanny and Mr J. P. are delighted with Miss S. & her merit in singing is I dare say very great; that she gave me no pleasure is no reflection upon her, nor I hope upon myself being what Nature made me on that article. All that I am sensible of in Miss S. is, a pleasing person & no skill in acting. We had Mathews, Liston and Emery: of course some amusement. (Letters, p. 261)
Though disappointed with Stephens, she enjoyed the performances of Mathews, Liston and Emery, who were three of the great comedians of the day. Tall and skinny, Charles Mathews was noted for his brilliance as ‘officious valets and humorous old men’.45 His long-time friend and fellow-actor, the inimitable John Liston, often appeared alongside him.46
Liston