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6 5 15 20101217 15 fields, which terminate with a distant view of Fingal castle, present them with a trial of strength and skill, aster the manner of the Highland peasantry. Carrol, disguised as a pedlar, avails himself of their hilarity, and offers a poisoned beverage to Oscar; which he refusing, Carrol discovers himself, and, displaying the ring, avows his determination to make Malvina his by force. Draco, &c. at that instant, with troops, rustics for- ward, and bears off Malvina. Carrol is pursued by Oscar, on whose approach he entrusts Malvina with Morven, strictly enjoining him to put her to death rather than suffer her to escape. She supplicates the the aid of Morven, who, overpowered by pity, forwards her escape from the cave wherein she is confined by a secret avenue. In the interim, Oscar is made pris- oner, and chained to the summit of a lofty tower; this is scarcely accomplished before Malvina and Morven are retaken. Carrol endeavours to convey her on board a vessel riding at anchor, but is prevented by a storm arising which destroys the vessel. He, however, forces her from her lover, leaving Oscar still chained, who is at length relieved by Fingal, whose men receive him in their arms, on his disengaging himself from his chains and leaping from the turret. Having regained his liberty, they determine on destroying by fire Carrol's camp, situate on a mountain, and to which a bridge is the pass: this he accomplishes by his troops concealing lighted torches under their helmets, (shrouded by their gabardines). Carrol's men alarmed, fall victims to the bravery of Oscar's troops. Malvina is dragged over the bridge by Carrol, who, enraged and despairing, prepares with his sword to dispatch her, which is wrested from him by Morven ; at the same instant Malvina plunges a dagger in his breast, and he expires. Oscar affectionately embraces Malvina; and the bards, &c. joyfully cele- brate their union. Oscar and Malvina is one of the most superb and interesting enter- tainments of its species, and exhibits the united powers of paint- ing, music, and dancing. The music, which is partly composed, and partly compiled and adapted by Shield, is elegant and pleasing; the overture is the composition of Reeve. The scenery is highly picturesque and splendid. The view of a grand cascade and that of a rich country, a broad river, and a dis- tant mountainous shore and castle, are among the first efforts of scenic exhibition. Carrol's camp, and the burning ship, are also extreme- ly well executed. Murphy, Mr [fl. 1798–1799], piper. Mr Murphy played the Union Pipes as part of a performance of Oscar and Malvina at Covent Garden Theatre on 5 May 1798. On 28 May fol- lowing, he returned and played a solo, accom- panied by John Michael Weippert on the harp. On 21 July following, he performed an overture at the Haymarket Theatre with Weippert and C. Jones on pedal harps. When Thomas John Dibdin’s elaborate pantomime The Magic Oak was brought forth at Covent Garden on 29 January 1799 there was a “Medley Overture on the Union Pipes and Pedal Harp by Murphy and Weippert.” The pair teamed for the last time at Covent Garden on 2 March in Reeve’s overture to Oscar and Malvina. The article on pp 14-15 appeared in the London pub- lished The Lady’s Magazine: or entertaining compan- ion for the fair sex (vol. 22) for November 1791. The excerpt starting at left is from A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and other stage personnel in London, 1660-1800 vol. 10 (Philip H. Highfill et al. ed., Southern Illinois University Press 1984). Both items were located and supplied by John Blake. O’Farrell playing the union pipes in Oscar & Malvina

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2011-02-24T00:00:00

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