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'Mr. Dion Boucicault's London Assurance has, since its production, been considered his best dramatic effort, but his new comedy, called Love in a Maze, which was produced at the theatre on Thursday [6 March 1851], is superior to it in those qualities in which he excels. The pourtrayal of character is not this author's forte, nor are the essentials which constitute comedy, in the legitimate sense of the word, within his grasp; but his fund of epigram is great, and its application judicious, his repartees ready, and his satire is of a kind that betrays a keen sense of the humorous. Smart dialogue and amusing situations, constructed out of a meagre plot, are the broad features of the new comedy, which possess but little character sketched from nature. The filling up of five acts by means of a constant success of jeu d'ésprits is what few writers can achieve. The story on which the piece is founded is but slight, yet the audience is amused to the last. Sir Abel Buckthorne ([E.P.] Addison), an old Norfolk squire, has brought up from their childhood his nephew, Col. Rupert Buckthorne ([Charles] Kean), and his daughter (Mrs. C. [Ellen] Kean), who has been infected with the follies and caprices of a town life. His great object is to see them united, and he arranges a match between them without asking their consent or knowing their sentiments. The wedding is celebrated in London. Immediately after the ceremony Lord Miniver ([Alfred] Wigan), a mincing fop, admired by and admiring the lady, challenges the bridegroom, who wounds and subsequently takes him (being ignorant of his attachment to his wife) to Buckthorne Hall, leaving the latter by a sorry excuse to journey by herself to the same place. Arrived at the family seat, the lukewarmness of the new married couple mortifies the old Squire, while it gives an excuse for the irony of Mr. Tony Nettletop ([Charles] Keeley), a hater of matrimony, and so profound a philosopher on all subjects, that he has been endeavouring all his life, and without success, "to make his own acquaintance." Lord Miniver, by the aid of a mercenary waiting-maid (Mrs. Keeley), a type of her class, conveys a letter to Mrs. Buckthorne. This letter is received, not with indignation, but rather with satisfaction, and after an interview, in which mutual explanations take place between Col. Buckthorne and his wife, leading to a perfect understanding of the feeling of indifference on either side, she delivers to him the letter, and at once explains that her affections, or rather penchant, are with Lord Miniver, and that the course pointed out by him – that of a divorce, with mutual consent, is the only hope of a release from their position and future unhappiness. Lord Miniver proceeds with his suit – makes love to Mrs. Buckthorne, and is surprised by her husband, who ironically points out to him the meanness of his conduct. Though checked, he still continues to pursue his purpose. At last the time approaches when the married pair are to sign a document which may divorce them. A change has come over Mrs. Buckthorne. She is no longer the town lady, with artificial feelings and supercilious airs, desirous of securing a coronet; but becomes more affected by the natural impulses of her heart. She begins to appreciate the generous bearing and candour of her husband, and to contrast it with the character of Lord Miniver, who is always detracting his rival. She now sees her error, and the fatal situation into which she has brought herself. She refuses to sign the paper, and the fourth act ends with her utter wretchedness and despair. The fifth act represents a "maze," wherein Lord Miniver and Tony Nettletop meet for the purposes of a duel, induced by a contest of repartee testily indulged in throughout the piece. The duel is a harmless one, and is succeeded by a scene between Colonel Buckthorne and his wife, who are both attracted to the spot by a report of the hostile encounter, and who come to a full explanation of their true feelings. This brings the drama to a conclusion; and the old Squire is at last gratified with the prospect of the matrimonial happiness of a match which, at one time, threatened to be a source of endless misery to him. The endeavours of the matrimony-hating Mr. Tony Nettletop, to avoid the snares laid for him by a designing widow who had once before jilted him, chiefly form the under-plot, but the means by which he is caught, and made to acknowledge the widow's charms and power, perhaps approach too closely on the confines of farce. In the character of the Colonel, Mr. Charles Kean allowed that undercurrent of feeling which flowed from his wife, to be observed by the audience without destroying the purpose of the plot by making it apparent to her or those around him. Though in this and other respects displaying much artistic skill, Mr. Kean had a part which is much below his great histrionic capabilities. As Mrs. Buckthorne, a creation of the author's most volatile fancy, and somewhat removed from probability, Mrs. C. Kean acted with that taste and delicacy, which always refine and exalt her impersonations. In the slight attempt at the production of pathos in the scene in which she refuses to sign the paper for her divorce, a depth and intensity of feeling were powerfully pourtrayed. Mr. Tony Nettletop, who, by the bye is a little of a hero and a dangerous opponent at repartee, was extremely amusing, and the broad grimace and quaintness of [John Pritt] Harley as Nettlestop's servant, added to the laughter of the evening. Lord Miniver, with his affected airs and Foppington slang phrases, was ably represented by Wigan, who is unrivalled in such parts. As one of the pertest and most unprincipled of servant maids, who has basely raised her fortunes upon her mistress's foibles and Lord Miniver's bribes, Mrs. Keeley archly and pointedly realized a very amusing but not strikingly original rôle. We have reserved especially our remarks on Mrs. Winstanley's performance, who undertook an ungracious task of sustaining the embonpoint and vivacious disposition of a widow whose personelle time had ripened to its fullest maturity. She was easy in manner, and relieved a character from coarseness which on this account in less skilful hands would not have been so attractive. It will be seen that in respect of acting every possible aid was given to the author's intentions, nor was he less powerfully supported by the managerial adjuncts of appropriate and elegant scenery, elaborately set and highly finished in its details. The comedy achieved a decided success. The applause was general and hearty. Mr. Boucicault passed before the curtain, led on by Mr. Charles Kean, in compliance with the unanimous call for "the author".'
(Weekly Dispatch, London, Sunday, 9 March 1851, p.10b)
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Rezene and Robini at the Raglan music hall, London, 1883
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