We never saw Mr. Kean look better than when we saw him in Richard II. and his voice appeared to us to be stronger. We saw him near, which is always in his favour; and we think one reason why the Editor of this Paper[32] was disappointed in first seeing this celebrated actor, was his being at a considerable distance from the stage. We feel persuaded that on a nearer and more frequent view of him, he will agree that he is a perfectly original, and sometimes a perfectly natural actor; that if his conception is not always just or profound, his execution is masterly; that where he is not the very character he assumes, he makes a most brilliant rehearsal of it: that he never wants energy, ingenuity, and animation, though he is often deficient in dignity, grace, and tenderness; that if he frequently disappoints us in those parts where we expect him to do most, he as frequently surprises us by striking out unexpected beauties of his own; and that the objectionable parts of his acting arise chiefly from the physical impediments he has to overcome. Of the other characters of the play, it is needless to say much. Mr. Pope was respectable in John of Gaunt. Mr. Holland was lamentable in the Duke of York, and Mr. Elliston indifferent in Bolingbroke. This alteration of Richard II. is the best that has been attempted; for it consists entirely of omissions, except one or two scenes which are idly tacked on to the conclusion. THE UNKNOWN GUEST _The Examiner._ _April 2, 1815._