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SCENIC ASPECTS OF THE LYCEUM MACBETH.

OMING close heels of Faust, on the Mr. living's Macbeth was bound to be a marvel of decora- tive elaboration, on pain of appearing an anti- climax. There is so mucli similarity, scenically speaking, between the two subjects, that one is inclined to question the policy of placing them in juxtaposition. Both are northeni, both Gotliic, both mediaeval, and in both the diabolic element plays a prominent part, rather liave been expected to choose, for fear of monotony, a play of classical, or at least southern scene. After so long a spell of Rembrandt, he might liave given us a turn of Tadema. He has preferred climax to novelty; he has advanced on the same track instead of turn- ing aside into paths unfamiliar. His success has been complete and well-deserved. It is only on reflection that we are conscious of any monotony; and not one person in a hundred reflects so curiously. Still, it may be suggested to Mr. Irving that by the time we have had two or three years of Macbeth, we shall be srateful for a little sunsliine and warm colour in his next production. Mr. Irving and Mr. Hawes Craven between them have dealt very successfully with the Witches, ex- cept in one passage. The opening scene is most impressive. The grisly forms of the Weird Sisters are dimly revealed on a rocky eminence in the centre of the stage, which is wrapped in ashen gloom. So soon as they have struck that wonderful opening chord, total darkness engulfs the scene for an instant; then a network of vivid lightning flashes out in the background, against which the three gaunt figures are seen ' hoverin ^ " aloft more impressive prelude ■ through fog and filtliy air.' A could scarcely have been devised. In the scene of the ' blasted heath ' the sibyls are no less success- fully treated. Their instantaneous evanishment,