We thought, in one or two instances, the pauses in the voice were too long, and too great a reliance placed on the expression of the countenance, which is a language intelligible only to a part of the house. The rest of the play was, upon the whole, very respectably cast. It would be an equivocal compliment to say of Miss Smith, that her acting often reminds us of Mrs. Siddons. Rae played Bassanio; but the abrupt and harsh tones of his voice are not well adapted to the mellifluous cadences of Shakespear’s verse. _The Morning Chronicle._ _February 2, 1814._ Mr. Kean appeared again in Shylock, and by his admirable and expressive manner of giving the part, fully sustained the reputation he had acquired by his former representation of it, though he laboured under the disadvantage of a considerable hoarseness. He assumed a greater appearance of age and feebleness than on the first night, but the general merit of his playing was the same. His style of acting is, if we may use the expression, more significant, more pregnant with meaning, more varied and alive in every part, than any we have almost ever witnessed. The character never stands still; there is no vacant pause in the action; the eye is never silent. For depth and force of conception, we have seen actors whom we should prefer to Mr. Kean in Shylock; for brilliant and masterly execution, none. It is not saying too much of him, though it is saying a great deal, that he has all that Mr. Kemble _wants_ of perfection. He reminds us of the descriptions of the ‘far-darting eye’ of Garrick. We are anxious to see him in Norval and Richard, and anticipate more complete satisfaction from his performance of the latter part, than from the one in which he has already stamped his reputation with the public. Miss Smith played Portia with much more animation than the last time we saw her, and in delivering the fine apostrophe on Mercy, in the trial-scene, was highly impressive. MR. KEAN’S RICHARD _The Morning Chronicle._ _February 15, 1814._