Further Newspaper Reviews of Inkle and Yarico (1787)
1. Morning Chronicle and London Advertiser, Aug. 6, 1787
Theatrical Intelligence.
On Saturday evening a new comick opera called Inkle and Yarico, was performed at the Haymarket Theatre … [Cast list omitted]
This opera is the production of the son of the Haymarket manager, and it does the author abundant credit, as it is a piece of a higher class than either Two to One, or Turk and no Turk. The tears and applause it drew from a crowded audience are the best proofs of its merits, and evince that they felt the powers of the pen of Mr. Colman, junior, as fully as his warmest friends could have wished.
The plot, in which there is more of complication and texture than in either of the same writer’s productions, is, as the title shews, founded on the well known story of Inkle and Yario, so artfully and so ably told in Addison’s Spectator, and which was some years since given to the publick in a tragic dress, (though not acted) by the author of the City Farce. As Mr. Colman has handled his subject, it is at once highly entertaining and extremely interesting. The comick scenes are light and laughable; the serious ones more than ordinarily affecting. The consonancy of Inkle’s character is well preserved, till his situation demands an abjuration of his avaricious principles. Those who are most familiar with Addison’s tale, will perhaps a little complain of the violence done to the record, by making Inkle turn penitent, after having gone so far, as to propose the sale of Yarico to the Governor of Barbadoes; but let them remember, that if the tale had been strictly adhered to, his character would have been too odious for a comick piece, and that it was in judicious deference to the predominant generosity of mind, that marks a British audience, that he is made to acknowledge the baseness of attending solely to self-interest, and becomes a convert to that virtue of sentiment, which, throughout the progress of the fable he had manifested strong impressions. Be the prevalent opinion on this point, however, what it may, every liberal and candid judge of dramatick writing must allow, that the conflict between Inkle’s good and bad principles is managed by the hand of a master, and proves Mr. Colman to have a deeper insight into the human mind than so young an author might be imagined to possess. The character of Yarico also is well imagined, and her simplicity admirably sustained. Her first scene engages a strong interest in her favour and her distress in the third act arisen to a degree of the pathetick and pitiable, that beats loudly for compassion at the breast of every auditor not altogether destitute of sensibility. Wowski, Trudge, and all the et cetera of the dramatis personæ, are fictitious characters, but neither ill-drawn nor ill-placed. Trudge is coloured with humour, and Sir Christopher Curry bluntly says, what if oftener said and more attended to, would mend the morals of mankind, and prove a benefit to the community. He is the advocate for natural character, and no admirer of negative goodness.
We have hitherto spoken on the favourable side with respect to this opera, but we mean not to have it understood, that it appears to us to be altogether perfect. It would be an ill office towards a young writer, to be silent on his defects. Mr. Colman, jun. has a happy knack at dialogue, but he is too eager after brilliancy; hence he occasionally sacrifices the substance to the shadow, and stops to kick up a witticism, when he ought to have gone forward in pursuit of solid sense and genuine sentiment. His jests also are frequently too obviously factitious. In the piece before us, the attempt at originality of character in making Trudge misplace his epithets, does not carry home; his frizzing quills, pouncing hair, and powdering parchment, failed of their effect. The fact is, the giving a character such a turn of expression is truly comick, but it can never answer without due preparation. John Bull is not apt to conceive from a sketch, unless the chalks are broadly marked, as in Idle and Old Vinegar in O’Keeffe’s Son in Law.
We mention this, however, and might mention other parts of the dialogue as so far defective that they do not come up to that degree of pure wit, nerve, and neatness, that we deem desireable in comic writing, but we consider them as trifling blemishes compared to the many strong claims to commendation that the opera of Inkle and Yarico possesses. Most of the situations are well calculated, many of the situations just and noble, and almost every incident indispensibly necessary—in fine, the piece promises to be extremely popular with the town, and profitable to the theatre. We therefore heartily congratulate the young author on his success, and take this opportunity of assuring the manager, that while he has so able an author at his back as his own son, he may sit at ease in his chair, and look down with contempt on all the efforts, which the industry of malevolence, and the labour of dullness can give birth to, under the charitable hope of causing him personal uneasiness.
The opera of Inkle and Yarico was given with great strength from the stage. Inkle is a very arduous part for an actor, but Mr. Bannister’s Inkle was a more excellent performance than we ever witnessed from his hands, though we deem him a most powerful comedian. If the town do not, to-morrow evening, reward him by an ample benefit, we shall say with honest Trudge, “that in this Christian country, we can tell the meaning of gratitude with little or no practice at all.” Mrs. Kemble’s Yarico was given with great simplicity, which was as it ever will be, productive of great effect. We never heard even from the Siddons herself, any thing more electrical than her delivery of the words, “I gave all for you.” Miss George’s Wowski was lively, though we could space her jumping at the end of the third act; and Edwin’s Trudge even under the drawback of his not being quite so familiar with the words, as he ought to have been, extremely pleasant. Parson’s gave Sir Christopher the consequence, that the character required, and moved our muscles with his wonted degree of success. Mr. Baddeley and Mr. Davis were as well in Old Medium, and Captain Campley, as could be wished, and Mrs. Bannister sung sweetly in Narcissa. Mrs. Forster made the most of Patty, and the rest of the characters were at least respectably performed.
The opera was decorated by four new scenes, painted by Mr. Rooker, and of consequence well adapted to the situations of the piece.
The musick was partly new and partly selected, by Dr. Arnold. The overture and new airs did the doctor credit. Edwin’s air in the last act in particular was most happily calculated for the theatrical effect.
2. Morning Herald, Aug. 6, 1787
Theatrical Intelligence. Hay-market.
An opera, of three acts, written by Mr. Colman, jun. was on Saturday evening brought forward at this theatre; it is stiled Inkle and Yarico, and is founded on the story contained in the eleventh number of the Spectator … [cast list omitted]
The opera opens with a representation of a woody part of America, where several of the crew belonging to Inkle’s ship, with his uncle Medium, appear in a state of alarm, lest they should be discovered by the wild natives. Inkle entertaining notions of trepanning some of the Indians for the sake of traffic, is deserted in the midst of his mercenary contemplations by his companions, who, in consequence of the pursuit of the natives, embark and weigh anchor for Barbadoes, leaving Inkle and his man Trudge to shift for themselves.
Thus circumstanced they fly for shelter to a cavern where they find Yarrico with her female attendant Wowski; an attachment takes place between Inkle and Yarico, and Trudge and Wowski.
In this state of sympathy, the time elapses ’till opportunity offers for Inkle and his man to embark for Barbadoes, the original place of destination; they obtain their passage in a vessel, to which they make signals from the shore, and Yarico and Wowski accompany them.—Upon reaching this island, Inkle’s mind is awakened to the advantages which will attend his marriage with Narcissa, the daughter of Sir Christopher Curry, the governor, which had before been planned.—As the lady it seems resided sometime in England, under the care of Inkle’s father, and left England in the same ship with Inkle.—Sir Christopher hearing of Inkle’s arrival, in his excess of joy at his having escaped the outrages of the Indians, gives orders for the marriage preparations to be instantly made;—but in the mean time Campley, the true admirer of Narcissa, and also one who had been a passenger in the same ship, gets introduced to Sir Christopher, with a view of soliciting his daughter’s hand;—Sir Christopher, in his impatience mistakes him for Inkle, and gives orders for the ceremony to be instantly solemnized. This equivoque is highly comic in its effect.
Inkle, after meeting with Sir Christopher, and mistaking him for a planter, offers to sell Yarico; Sir Christopher agrees to purchase her to attend upon his daughter; but perceiving, during the bargain, the affection she bears to Inkle, and learning the rest of the story from honest Trudge, who is determined not “to desert Wowski”, he execrates his conduct, and pours forth some well-seasoned invectives against the barbarous traffic of the human race.—Inkle, still ignorant of who Sir Christopher is, threatens to complain of his conduct to the governor. But the appearance of Narcissa with Campley, affords a complete eclaircissement to all parties; and Inkle who appears possessed of generous sentiments, though perverted by the examples of a bad father, feels the utmost contrition for his conduct towards Yarico, and vows to be her protector ever after. This draws forth the approbation of Sir Christopher, who pledges his friendship in return for the recantation of his errors; and here the piece ends.
We are not necessarily obliged to be concise in our state of the fable, which is not in any part of the drama, except the first act, destitute of incident.
Remarks
The unities have been very unnecessarily violated in this drama; and however Dr. Johnson may be the apologist for such irregularities, Mr. Colman, Senior, is too correct a classic not to acknowledge the superior reasoning of Aristotle. The piece should have opened with the landing of Inkle in Barbadoes. All the comic effect might have been preserved; or at least something as good as what passes in America, been substituted. By this transformation the terrors of Trudge, in following his master into the cavern, which are in such strong alliance with those of Zany in the Enchanted Castle, would not have seemed a copy.
The character of Inkle is not drawn with the most pervading attention; his agitation, and the sentiments he gives vent to, while on the point of parting with Yarico, appear to be of too generous a stamp to require the admonitions of the governor.—He ought to have been represented less under the influence of liberal feelings; and all the good qualities of his soul have bursted forth at once at the reproaches of Sir Christopher.—This would have given his present vices the colour of education; at present they seem like the workings of the heart. The governor is a fine generous character and well drawn: Trudge is also of good stamina, and cannot fail of being a favorite. Yarico is in strict adherence to the original delineation; and Wowski is an excellent representation of the fidelity which may be annexed to a state of nature.
The dialogue upon the whole is sprightly and animated:—some of the allusions are highly comic;—Trudge’s remark that the naked Indians “are in black buff, like Adam in mourning,” is a whimsical combination:—his reply also to the Barbadoes merchant,—“that if his heart could change places with his head, he would look black in the face,” is a strong retort.—In the comic part of the dialogue, we cannot forbear observing, that there is too much said about the complexion of the Indians;—the wit is too much in the shade—and the joke is—the black joke!—there are also a number of puns which are vulgar and obvious.—The perversion of Trudge’s phraseology is absurd,—and unproductive. In his midway situation between a valet, and a clerk, he talks of “frizing pens,” “brushing up letters,” and “pouncing of head heads.”—Where is the wit,—where is the humour of this specimen?—and there is fifty times as much, still worse.
But while we thus freely censure, it would be injustice not to commend:—the dialogue given to Sir Christopher, indicated by strong humor and manly sense;—the language of Yarico, is pathetic and natural; Narcissa delivers herself with elegance;—and the sophistry of Inkle is expressed with effect.
The music is a mixture of compiled and original airs,—of the selection and composition of Dr. Arnold.—Of the latter distinction, Mrs. Bannister’s song of “Freshly now, &c.” and Miss George’s air of “Remember when, &c.” particularly the latter, demand praise:—and indeed commendation is due for the entire appropriation of the music.—We were not in time to hear the overture;—but were told it had great merit.—The band was admirably led,—the instruments went with precision, and in good accordance.
The performers, particularly Mr. Parsons and Mr. Bannister, jun. are deserving compliment; the former expressed the indignation of Sir Christopher, with well applied integrity and warmth; and the latter played with such force and sensibility, that every heart felt his influence. Mrs. Kemble has a just claim to the same encomium; but in singing she was out of tune, and intolerably in the verse she sang with Bannister, as a duet, who, in the first stanza of the same air, gave testimony of his being the inheritor of a very fine voice, and accurate ear.
The opera was received with uncommon applause, and cannot fail of being a favourite performance. We recommend a little pruning in the first and second acts. We advise, also that Wowski’s face to be not so jetty, and to agree in colour with her hands; she ought to be an American tawny, and not an African black.
3. Public Advertiser, Aug. 6, 1787
Theatrical Intelligence. Hay-Market.
Saturday night the opera of Inkle and Yarico, dramatized from the well-known story of the Spectator, and was represented for the first time. … [cast list omitted]
It is ever with satisfaction we recognize the stories that have promoted the pleasures of youth, brought forward in a dress that excites the plaudits of maturity. In this light therefore must we report the present piece, which renews in remembrance a story that but few have not, if they have read at all. Mr. Colman has retained as much of the original as to give it dramatic effect, as was possible. The tender sensibility of Yarico is faithfully preserved, and the mercenary disposition of Inkle judiciously qualified. … [plot summary omitted]
The plot is managed with infinite skill, though there are some lapse, that in another piece than an opera would offend the rigid critic. The dialogue, if not abounding in wit, has much vivacity near approaching to it; there are some poetic ideas elegantly expressed, and many generous sentiments, and mark those of the author much to his honour.
The performers, in general, were perfect, for a first night’s performance; and appeared fully possessed of their respective characters. Parsons did ample justice to the generous-minded governor, and seems to feel a glow in uttering the expressions apportioned to him; Young Bannister, a most improving comedian, acquired credit by his judicious performance of Inkle, and marked some passages in a manner, at least, inferior to nothing we have seen for some years; Baddeley deserves credit for his just representation of old Medium; and Davies, with that characteristic vivacity, multifarious performances, exhibited the sprightly young soldier. Mrs. Bannister was pleasant, looked, spoke, and felt Narcissa. Mrs. Forster, and Miss George, had merit, particularly the latter, who justly conceived the untutored Wowski. Mrs. Kemble was, indeed, Poor Yarico; and as one test of her excellence, we beheld it visibly operated on the feelings of many. It was every thing that could be wished. Edwin, though last, not least, performed the part of honest Trudge—and no more need be said than that he performed as he ever does, with that incomparable merit, which either by look, art, or word, can excite risibility, or command applause.
The music was mostly new, composed by Dr. Arnold. The airs selected were judicious, and the fresh ones highly creditable to his professional reputation. The overture had some pleasing movements.
The house was crowded and genteel, and the most unbounded plaudits were bestowed throughout the performance. It was given out for this evening with the greatest applause.
4. World and Fashionable Advertiser, Aug. 6, 1787
The Play-House. Hay-Market.
Wishing well to the theatres, as we do, in candour we could not report of this House, without that candour appearing to hear the marks of ill-nature. Even respect for the established performer, is lost in association—and Mummery has so far out-balanced Genius, that all the decent credit which once attended this Theatre, is fled with the audience that attended it likewise.
In this state of the Hay-market, we have been silent. But of us, there is no want. Kinder prints, fill theatres upon paper—and are absolutely stupefied with applause.
Fortunately, we were relieved on Saturday evening, by a novelty from the hand of the younger Colman …
… The conclusion differs from the common story—in producing the repentance of Inkle, and a re-union with Yarico; which close the piece. This alteration, we understand, to have been made but a short time ago.
Of the merits of this opera, much, though very different in its nature, may be said. It undoubtedly discovers genius, and originality: it discovers at the same time, originalities that disgrace genius. As a composition, it resembles a sea in boisterous weather: at one moment, you are near the clouds—at another, you are so low, you cannot but imagine you shall never see them again.
In saying this, we allude to all that play upon words—and which the Italians term Concetti—which this young will indulge to the strong prejudice of his reputation. These are occurring for ever—a black-fair held in a brown green: grave without meat, I shall here meet my grave—a lion’s mouth for a night-cap—and the dancing in a bear’s belly—with various instances of this sort, which if any thing could make them worse—it would be, that of having Trudge introduce them at the most affecting and interesting parts of the story—when the breast feels for the situation of the scene, and is brought back to itself by such immediate absurdity—“That the heart wonders why it griev’d before.” In describing fear—the melting away like a pot of pomatum, is nasty to a degree; and should therefore, with many other things, be expunged.
We have spoken thus fairly, because there are claims to merit in the opera, which make us regret such things are found along with them.
The serious part is certainly the best, in point of writing: the best in point of stage-effect, is the scene betwixt Inkle and the Governor.
The story is well told—and the costume of the drama—the localities are well preserved in the savage scene, except that Yarico speaks English somewhat too well, and falls in love somewhat too quickly. Perhaps, however, it may be—a way that she has.
From the established performers, as much seemed to be given as could be expected. Parsons certainly did more for the author, than the author had done for him.
The Inkle of Bannister was his best performance hitherto in a serious line; devoid too of that quick step, which has hitherto set all his tragedy at defiance.
Edwin’s acting, and still more his singing, were in his best manner. Doctor Arnold’s song—A Clerk I was in London gay—was as creditable to the composer as to the performer—and should never pass without an encore.
We never saw Mr. Davies look or act better—and Baddeley had not enough for his abilities. Meadows had quite enough for his.
In the first display of Mrs. Kemble, she had contrived to make herself so uncommonly disgusting, in point of appearance, that no interest could take place about her. In the last scene, however, the extreme plaintiveness of her voice, and the tenderness of her manner, bore down the antidote of her appearance; and she rose in that estimation, she so well merits in that line of acting.
In point of appearance, and in compliment we suppose, Wowski bore an under part; and in truth we may say, we never saw upon any stage so dreadful a figure as Miss George—and we do not except the Furies, or Dancing Devils of the opera. One song she sung well.
In regard to the alteration of Mrs. Kemble’s figure, it should be done immediately; and it is the more unpardonable, as the dress of some parts of America is highly fanciful and ornamental. Plumes of feathers—the hair tied up, and the disposition of the drapery picturesque.
The present appearance is that of a begging gypsey in a blanket. We cannot wonder why Yarico should leave her.
Mrs. Bannister sung very tolerably. What related to Doctor Arnold was very good—all but the overture, which had no striking merit.
We think this opera may, for a while, retrieve the fame of the house, and be productive—and—so shall the son be useful to the sire!
Beyond this, we think many parts of it will add to his reputation as a writer—particularly, the struggles in the mind of Inkle, and indeed the whole of that character; and we sincerely wish the younger Mr. Colman every success attending it.
The scenery was good, and for once, the house was full.
5. St. James’s Chronicle or the British Evening Post, Aug. 4–7, 1787
Postscript. Theatre—Aug. 7 (Hay-Market)
Saturday an opera in three acts, called Inkle and Yarico, was performed for the first time.
The story as it is told in the Spectator is well known to our readers, and if Mr. Colman, Jun. had withheld his attention from it till the age of forty, he would probably have rendered it the subject of a tragedy.
By a previous engagement of Inkle to the daughter of the Governor of Barbadoes; who likewise had secretly disposed of her hear; and giving him a clerk or valet, who attaches himself to one of Yarico’s attendants, Mr. Colman weaves into the simple tale a good deal of dramatick business, and introduces a variety of characters, well drawn and happily grouped.
The principle merit of the opera, and it is very considerable, is in the character of Inkle, where the opposite and contradictory effects of nature and education are delineated by the hand of a master.
The wit, humour, and sentiments of the play are introduced so as to have the effect of light and shadow, and the language is sprightly and characteristick in a high degree.
With allowance for the exuberance of youth, and the blemishes occasioned by impetuosity and negligence, we think the present opera a production of great merit, a proof of rising genius, and a promise of a chef de ourvres.
It is performed by the strength of his father’s house; but the most eminent among the deserving are, the Inkle of Bannister, jun. and the Yarico of Mrs. Kemble. We think the latter, in affecting simplicity and plaintive tenderness, leaves all competition on all the theatres at a prodigious distance.