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Email a friendUnrewarding virtuoso role not worth a revival
IN 1798, Joanna Baillie published three "plays of passions." Two were comedies on love and one was a tragedy based on hatred. They were received with enormous enthusiasm by Sir Walter Scott, William Wordsworth and Lord Byron.
In 1800, John Philip Kemble and his sister Sarah Siddons appeared at Drury Lane Theatre in De Monfort, the tragedy on hatred.
The play is written in blank verse and is a typical example of the romantic Sturm und Drang movement, which was so popular in the late 18th and early 19th century, especially in Germany.
Apparently, Kemble gave a powerful performance, Siddons enjoyed her role enormously and the scenery - especially the convincing set for the church in the final scene - was magnificent.
The play, however, was heavy going and the public didn't like it. There were only 11 performances.
Twenty-one years later, the great Edmund Kean revived it at Drury Lane. It was a total failure.
De Monfort is an unrewarding virtuoso role which no actor of note has wanted to act since then.
The protagonist's hatred for Rezenvelt, which began when they were at school together, is totally irrational. When he suspects that his sister, whom he adores and for whom he has incestuous feelings, is going to marry Rezenvelt, he murders him.
Morose, tormented, always scowling and constantly losing his temper, he is never the tragic figure that Baillie clearly intends him to be.
De Monfort is, in fact, a dreadful bore and the play wasn't worth reviving.
Plays until May 31. Box office: (020) 8940-3633.
ROBERT TANITCH