Castlist

CHARACTERS.

Olympic, 1853.

Apparitions, Murderers, Messengers, and an Army of 20,000 Men (more or less), who have been expressly engaged on this occasion—with the Enemy.

[Witch 1], [Witch 2], [Witch 3], [Courtiers], [Seyton], [Chorus], [ Murderer 1], [Murderer 2], [Servant], [Apparition 1], [Apparition 2], [Messenger]

Duncan	King of Scotland, a Monarch of large heart but homœopathic intellects, which is the principal reason of his having “borne his faculties so meek.”	Mr. G. Cooke.
Malcolm	the solitary heir to his Father's vacant crown, who is left heir-apparent without e'er a parent left, his “sainted Mother” having contracted a habit of “dying every day she lived,” which unfortunately resulted in her being taken at her word on one occasion, and buried by accident	Mr. T. J. Rolfe.
Donalbain	his Orphan Brother, who, though he doesn't often speak, is continually off an' on	Miss C. Adams.
Macbeth	the original “Noble Sportsman, who crossed the poor Gipsy's hand with Silver, and listened to the stars,”—his descendants are living to this day	Mr. F. Robson.
Banquo	the “pretty gentleman” who accompanied him, a General, of whom it is unnecessary to go into particulars	Mr. Clifton.
Macduff	Thane of Fife, one Macbeth wishes to “play upon,” but only manages to “fret,” who leaves his native land to seek assistance from Sea ward	Mr. W. Shalders
Rosse [Ross]	who boasts no further affinity to the celebrated Telescope than that he is easily seen through, and continually drawn out for the purpose of being shut up	Mr. Kinloch.
Lennox	a Peer, who appears to say nothing	Mr. Laporte.
Family Physician	an old friend of the Macbeths, who sticks to them like a Leech	Mr. Harris.
Family Porter	like Family Porters generally, engaged for the “heavy” business, with a great deal of body and very little head.	Mr. Beere.
Lady Macbeth	a lady of masculine mind and unbounded spirit, considerably above proof, who saw a few impediments to her “solely sovereign sway, and master'd 'em”	Mrs. A. Phillips
A Gentlewoman	a curious, and as such, by no means uncommon specimen of the genus waiting maid	Miss Rawlings.
A Witch	fine grown young ladies, who, but for the lengths to which they go, could have no claim to be called Lankey-shire witches	Mr. C. Bender.
A Witch	fine grown young ladies, who, but for the lengths to which they go, could have no claim to be called Lankey-shire witches	Mrs. B. Bartlett
A Witch	fine grown young ladies, who, but for the lengths to which they go, could have no claim to be called Lankey-shire witches	Miss I. Adams.

Programme OF SCENERY AND INCIDENTS.

ACT I.

SCENE I.

A BLASTED HEATH.

Discovery of three Impostors in postures most imposing—A wild air (which, being a March, is of course as mad as a March air) announces the return of the Victorious Generals, at the head of the Army above referred to, at present lost sight of in the fog in which they are Scotch missed—Three first-rate tips from the Turf Prophets, and the threads of fate disentangled from the loom of the future.

SCENE II.

CAMP AT FORES.

Wherein the King, in a sudden burst of Hospitality invites himself out to Dinner.

SCENE III.

Gates and Terrace of Macbeth's Castle.

The letter—Affecting conjugal re-union—Preparations made to “welcome the coming,” and subsequently considerably “speed the parting guests”—Fashionable arrivals.

SCENE IV.

Court Yard and Gallery in the Castle.

The King retires to rest (N.B. Night comes on very rapidly in Burlesque Regions)—Macbeth is led to the celebrated air-drawn “dagger dance,” after which, the Royal Duncan (Clipper built A 1) is “cleared outwards with a quick despatch,” and, with his nasty death, concludes his dy-nasty—The discovery!—The alarm!—General confusion of everything, and consternation of everybody.

Grand Pas de Night Gowns and Chamber Candles.

ACT II.

SCENE I.

CHAMBER IN THE CASTLE.

Macbeth receives a visit from two professional gentlemen of experience, for the purpose of drawing up a deed of settlement and undertaking for Banquo.

SCENE II.

THE BANQUET HALL.

Wherein Macbeth exchanges from the Blues into a Light Company, and Banquo returns from a cheap trip to Gravesend to supper, at which he naturally makes his supper-natural appearance.

SCENE III.

A WOOD.

The Exiles—Painful recital—Just cause of action and strictly legal proceedings for excessive distress.

SCENE IV.

THE WITCHES' HAUNT. (IN WYCH STREET.)

The Incantation—The Apparition; a scene in which the useful lesson is inculcated, that “appearances often deceive.”

SCENE V.

A CHAMBER.

Wherein a lady, by no means slow awake, appears particularly fast asleep.

SCENE VI.

A TRULY MOVING SCENE.

Curious translation of De Foe, intended to come out in numbers at the fall of the leaf, illustrated with one large woodcut.

SCENE VII.

Nothing Particular!

All-arming state of things, and an unexpected amount of intelligence from a Gentleman with a goose look.

SCENE VIII.

BEFORE THE CASTLE.

Desperate combat and overthrow of the Tyrant—General resuscitation, repentance, and reconciliation—Common-place but necessary, and it is hoped

SATISFACTORY CONCLUSION.

COSTUMES.

With respect to the Costumes, and the least possible respect to the Authorities (who are singularly vague and unsatisfactory), I have endeavoured to borrow the materials from that Nation with whom the Christian Members of the Legislature appear to be constantly at war; but, of course, without success. Being therefore reluctantly compelled to pay for them, I am naturally anxious that they should be as correct as is consistent with propriety and a moderate outlay. Pinnock informs us, in his admirable Work for the use of Schools, that the early inhabitants of Britain, a few years anterior to the date of this Play, were contented with one light over-coat of paint, fitting closely to the figure, with the trifling addition of a War Club on full dress occasions; but as this Costume, if closely followed, would probably be considered too cool for even the extreme latitudes of Burlesque, it has been thought advisable to discard the entire Suit, with the Strong Club, on this occasion. The continual inroads of the Norsemen, and the invasion of Canute in 1031, may have suggested to the Scots the propriety of receiving a better dressing from their foes than they were able to give them.

History informs us that, in the time of Severus, a barrier of masonry was thrown across the Island (a performance which must have required a tolerably strong Cast) to repel the Marauders, being the only instance of Free Masonry in which there was no Grand Arch, when, as usual, the weakest went to the Wall. After this, the habits of the inhabitants appear to have been Checked Breeches with Legging Continuations as long as they were permitted. Their garments at this period, are represented as of a material known as a coarse Tweed; I have, however, consulted Berwick on the coarse of the Tweed, but with no material result: it is however quite clear, that of whatever stuff they were composed, their enemies, finding they had their own work cut out in subduing the hardy Scots, offered them a peace, and that they eventually made it up between them.

Partly for these reasons, but chiefly because I happen to have them by me. I have introduced the Tunic, Mantle, cross Gartering, and ringed Byrne of the Danes and Saxons, between whom it does not appear that any material difference existed, except that when any

little difference did arise between them, the Saxon Broad Cloth was unpleasantly double-milled.

Harold Hardrada, King of Norway, is described by Snorre as wearing, A. D. 1066, a blue Tunic and handsome Helmet; but, as the Gentlemen of this period were not remarkable for honesty, it is by no means impossible that they properly belonged to some one else.

Roderick, King of Strathclyde, is mentioned as sleeping on a Feather Bed, proving somewhat paradoxically that, however downy his pillow might be, he was sufficiently wide awake to be down upon it.

During the five centuries previous to the Norman Conquest, the Scots made great advances; and as, when a Scotchman once moves, he is famous for not going back again, there is every reason to believe that no halts took place in their march of improvement, and that the fashion of their Dress and Buildings were precisely what were most convenient to themselves.—I have strictly followed their example.

On the subject of Banquo's Umbrella, which has been borrowed from a stand of the period, I have availed myself of the valuable ignorance of a friend—who expects I shall return it—and to whom I take this opportunity of acknowledging an obligation which I feel I shall never repay.

MACBETH TRAVESTIE.

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