Guy Mannering

“…This interesting and romantic drama will, we understand, be splendidly put upon the stage with all the original and beautiful music…”

“…with all the ORIGINAL and FAVORITE MUSIC, by an augmented chorus of experienced singers.”

Positive and long review. Concludes: “Last, and not least neither, there is a large chorus of good singers, which, with a full incorporation of the original music of the drama, gives it the seasoning of a pleasing English opera. Hence this old play at Booth’s is really better than many things elsewhere that are new. Same bill this evening.”

“…The original music in the drama, let us add, is sung, and the scenery is appropriate and showy.”

“…An augmented chorus performed the incidental music… Mr. A. Matthison was the Bertram, and acted and sung [sic] with good taste and judgment.”

Positive review. “…The opening song and chorus, the first gipsy song, and Mr. Matthison’s serenade were the musical hits of the representation. The performance was altogether a success.”

“…The lady performers are of little account in this piece, though if they could sing better they would, perhaps, be of more importance.

“The scenery is very good, the last set being particularly effective, while the groupings, chorus singing and other accessories show unusual care and liberality.”

“…The old English music of Sir Henry Bishop, the ‘Changh [sic] and Crow,’ and other excellent glees were tolerably well sung. In fact, the musical part of Guy Mannering is a most important one, and Mr. Mollenhauer has done everything for it that the materials he has at hand permitted.”

Brief.

“In some respects the play is well cast, in others not. It has to do with music to an unusual extent. As a general rule actors are not musicians, a fact attested in this play by all concerned; for nothing is more frequent than to find the orchestra in one key and the amateur vocalists in sweet unconscious warbling in another. But the converse of the above rule is not the less true, that musicians are not apt to be actors; and this rule Mr. Matthison, who has a pleasant voice, made good by singing very well and acting very indifferently. The music of the piece is excellently composed. There are few finer glees ever written than ‘The Chough and Crow,’ and it is always a pity to hear it badly sung; but perhaps one can hardly reasonably expect to find a madrigal club among the members of a dramatic company.”

In Emma Waller’s interpretation of Meg Merriles, “voice and action are assimilated to the part; in faltering tongue, palsied limbs, screeching voice—even to the singing—all the peculiarities were kept up in a manner that stamp her one of the most finished actresses of the day… Mr. Matthsion as Henry Bertram acted and sang with judgment… All the original music was introduced, for the proper rendition of which a large chorus of experienced singers were secured. The attendance was quite good for the initial performance and business was encouraging throughout the week.”