Cymbeline - eTheses Repository - University of Birmingham

133.
expressed satisfaction. The Athenaeum praised her, but
had few good words for the production:
Shakespeare's tragedy of Cymbeline was revived
on Monday - but not in a manner to ensure a
permanent effect. Its production appeared to
be of an extemporaneous character - much in it
was undertoned. Mrs. Mowatt's Imogen, however,
was pleasing, and evinced a special aptitude in
the actress for the class of character to which
the part belongs. Her elocution had that
charming precision which is now well known as
the peculiarity of her style. We might particularize
many beauties - such as the feminine
timidity with which Imogen ventures into the
cave, and the passionate fidelity with which
she solicits death from the weapon of her
husband's messenger. But these are the usual
points; and we prefer to commend her by-play in
the last scene, while lachimo's tale is a-telling -
and the subsequent recognition of her husband.
Both were given with great truth and feeling.
(November 3, 1849).
Mrs. Mowatt's "gentle Imogen" was praised by The gra:
Her natural grace of person and style gave increased
interest to the personification.
(Move >ber 4).
But this critic, too, regarded the production inadequate,
and suggested why it failed:
The attempt on the part of the management was
a bold one, and, to a certain extent, the experiment
was successful. But Cymbeline is a
play requiring a large and powerful company,
extensive appliances in the shape of scenery
and decorations, and numerous careful rehearsals.
Hence the difficulty of producing such a play in
a small theatre, and with a limited company ...
We should recommend the lessee to be less ambitious
in his future revivals, and not attempt with his
present company such leviathan vorks as Cymbeline.
The company are more au fait to the successful
representation of comedy than of heavy tragedy,
and to the former v/e should recommend Mr. Watts
to adhere.