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April 19. She Wou'd and She Wou'd Not-Sleeping April 2. Othello-Amoroso.

23. Lady of the Manor-Innkeeper's Dauglen 1. Mountaineers-lonkeeper's Daughter.

King Richard the 11d-Sleeping Draught. 24. Jew of Malla-Sleeping Draught, tl Deal and Dumb- Amoroso, King of Little 85. Ditto-Amoroso.

Britain, Falls of Clyde.

COVENT GARDEN. Arert 11.- This evening by permis- horror is substituted for the afflicting tion of, or agreement with, the Boglish and refined. Opera-bouse at the Lyceum, the Opera After the Tragedy this evening, á of The Devil's Bridge was performed Dew Farce, intitled it ho's my Father? on Saturday night, for the first time at was produced for the first time. Covent-garden Theatre; in which Mr. The merit of tbis little piece consists Braham, as Count Belino, exerted bis altogether in situation. The jokes Tocal talents in the song of Love and are some of them old and others Glory, with all bis former taste and ex. tame; but an old, or even, a tame and scation. Miss Stephens, in Rosalvina, imbecile joke, will occasionally tell, introduced a new song of Bisbop's com- according as the circumstances under position, Rest my Child, which is a plain which they are delivered prepare the tive air, and was song by her with all way for their reception. This principle her wonted swetness. The other parts, we thought exemplified in the performdramatic and musical, were well sus- ance of which we are speaking. Mr. tained by Fawcett, Blanchard, and Miss Liston, wbo personated the character of Matthews; and the piece, wbich bas a servant, and was afterwards supposed bat little merit, save the music, was to be a Lord, gave effect to many points extremely well received by a genteel of the dialogue, which, though they audience.

owed much to his extraordinary humour, APRIL 18.—This evening the play of owed perhaps still more to the extraorFenice Preserved was admirably per- dinary predicament in which he was formed at this Theatre. Their Rosal placed when he uttered them. To disHighnesses of Gloucester were present, patch the plot in a few words, it appeared and, with a crowded and brilliant house, to be this :gate animation to the actors. Young's

Lord Alton (Mr. Jones), the son of Pierre is a fine-toned piece of acting, some Noble Marquis, loved Emily (Miss wonderfully impressive and chaste,– Foote), the daughter of a Major (Mr. a rare union in dramatic represen- Emery). lo order to carry her off, he tation. C. Kemble was as spirited in disguised kimself as a gardener, and

ever saw him, and entered her father's service. A letter Jabier is a very difficult, though a very having been addressed to the Major, effective character. Miss O'Neil we stating that Lord Alton, in the disguise berer admired more. Her bye-play was of bis servant, was prosecuting disesquisite, and the pathos and judgment honourable views towards his daughter, with which she executed every part of and inclosing his picture, the more perber arduous task, is not to be exceeded. fectly to secure bis detection, Fanny, The final scenes of Belvidera are highly the waiting-maid (Mrs. Gibbs), opens Wrought, and if we have one doubling and reade it, and substitutes in the room strictare to offer, it is that a less free of his Lordship’s picture that of poor quest recurrence to the hysteric, in Fitz (Mr. Lision), her fellow-servant which she is so great, and possibly a less and admirer. The deception succeeds. painful dying agony, would be at once The Major calls him to account; but more finely feminine and affecting. he declares his intentions honourable. Dying in convulsions seems, since Kean Such is the principal incident.

The introduced it, to have become an un- lacquey addresses and struts according varying stage rule; yet the majority of to his conception, of the manners of a buman-kind do not die in these dreadful Nobleman ; but the Marquis having struggles, and we should indeed be given his consent to the marriage of bappy to see our performers sometimes his son with Emily, on discovering that go off a little more easy. The perfect her portion was 20,0001. Lord Allon imitation of the rattles in the throat, declares himself, to the astonishment of or the death hiccough, is by no means the Major and his intended son in law agreeable, and the true end of tragedy Fitz, who vainly supposed that he had is mistaken, wheo the horrible and found a father antong the Nobility.


as we


The piece concludes with a double mar. Manfredi resolves to keep his oath, and riage-that of bis Lordship with Emily, Bellamira will not leave ber husband. and of Fitz with Fanny.

Sinano, during the conflict, comes in Upon such materials the Author bas discovers Manfredi, and has bim dragged constructed a light agreeable little away-looks on Bellamira-it is the drama, which is as much as can be fairly object of bis early love, to carry off demanded from those who write for the whom he bad leagued with bandits, day, and write in that class of composi- and in consequence, been degraded from tion which never contemplates poste- his nobility, brauded on the forehead as rity. It was favourably received, and a robber, and cast out from Naples. promises to live its hour, with a mode- Manfredi it was who defeated and disrate portion of encouragement.

graced him, and thus became the object April 22.-A new 'l'ragedy by Mr. of his revenge aud a captive with ber. Sbiel, was performed under the title of Salerno, tbe supposed faiber of BellaBellamira, or the Fall of Tunis, and the misa, meels Montalto, who discovers in principal Dramatis Personæ are

hini a brother and the murderer of his Montalto...

Mr. Young. wife and child. Salerno says his daugh.

. Mr. C. KEMBLE. ter lives-Bellamira, then at Tunis, and Sinano.

Mr. MACREADY. in the power of Sinano. The fatber is Bellamira..

..Miss O'NEIL. horror struck. lo the mean time Sinaco The following is a sketch of the bas forced Bellamira to his baram ; she plot:

grasps a poignard from Sinano's breast; Count Manfredi, a nobleman of Na- threatens to stab herself if he approachples, io slavery at Tunis, discovers that ed.

He goes out and brings in ber Charles the Fifth is marching against the husband, threatens to put hiin to instant pirate cily. He arms his Christian fel dealb unless she throws down the dag. low-slaves against their tyrants, and ger. She is resolute. He brings in ber becomes himself their leader, binding child; the dagger falls from her hand. himself by an oath, that not liberty - Sinano is about to seize her, when Monpor the embraces of his wife and child, talto rushes in and receives bis daughter could make him abandon the common in his arms. Tuois is now altacked. *

He sees a child dragged from Sinano is called off to battle, baving its mother, attempts to save it, but is previously seat the father, husband, and preveoted. The frantic mother now other captives to a dungeon. Maofredi appears—it is Bellamira, Manfredi's and the others are carried out for in. wife-the child was theirs He attempts stant execution : Montalto is left bebind to save bis wife from the pirate's grasp chained to a pillar. The dungeon door - they are about to murder bim, when is left open in the confusion. Bellawira suddenly Montally, the Governor of comes in, finds her father. Sioauo reTunis, appears, and saves him. This turns, accuses Montalto of treachers, personage, whose character is drain and stabs him. The shout of battle is with great force and inagnificence, bad beard, and Sinano goes out. A scene been Admiral of Venice, was stigmati- of agonizing recognition takes place zed unjustly as a traitor to the Repub. belween the father and daughter. Sipado lic, and bad bis wife and only child returns, wounded and bloody, his lurban murdered by his owo brother. He fled off, and his branded forebead bare, to to Tunis, became a renegade, and the 'carry off Bellamira. Montalto kills him Vicegerent of Haradin, in bis absence, - Manfredi comes in.--Tunis is taken on the expedition against the approach and the curtain falls. ing Spaniards. Montalto beholds Bel- The plot is considerably more comJamira, - bears her name-it was that of plex than that of Mr. Shiel's former his murdered child. He restores her to tragedy: In The Apostate, the march freedom, her husband, and her child. of the events was

more simple and Sinano, another renegade, now arrives direct. But in the present play, from the camp of Haradin, with an the progress of the action is equally order to murder the Christian slaves, rapid, and the momentum (if we bar and succeed Montalto as Governor of use that expression), by which it moves, Tunis. Sioano would spare them at the is more powerful. The siluations are instigation of Montalto, but that he terribly, perhaps loo terribly, powerful

, finds there the name of Manfredi, his Be tortures innocence into agony, and mortal fue. Montalto provides a ship stings the savageness of human passion to carry away Manfredi and bis wife beyoud the ferocily of buinan gature,


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His diction in this play is more poetical Miss O'Neil exhibited a rare union of than that of The Apostale. It abounds tragic tenderness and tragic terror. The with the true eloquence of tragedy- part of Bellamira powerfully supplies the eloquence of sentiment and passion. These springs of emotions, and is admi. The fatber, speaking of bis child, says, rably suited to ber. Mr. C. Kemble - If I had stood upon the displayed with great happiness the force

of his impassioned style as Manfredi. grave That holds my buried infant, I had known

Mr. Young bad a magoificent part in That anderneath a part of me was laid ;

Montalto, and produced some bursts of

sublime and fervid emotion, but can and Bellamira, to her husbaud, speaking evidently improve bis performance of of bis honour and his oaib says,

the character. Mr. Macready, as Sinano, Obey it.

bas made "a giant's step" in professiBet tbere's another voice witbin me here: onal reputation. He performed one It cries as lood, and it shall be obeyed. scene in a style which would have added The despot honour in a hero's breast

honour to the greatest master of the Holds not a rule more absolute than love

art. We dwell with the more pleasure Os its own throne-a woman's trembling upon this triumph of Mr. Macready, as heart.

we were among the first to appreciate Wirb all its success, however, it is an his merit, and anticipate the eminence imperfect tragedy. There is iv it a re- to wbich superior talents, solid judg. dundancy of narration-written, it must ment, and cultivated taste, like his, be admitted, with so much spirit, and necessarily lead. The play was given so much art, as to leave an impression, out with not only unanimous, but enas deep and distinct upon the audience, thusiastic applause. as if the action passed before their The prologue, by Mr. Graham, was eyes. But what is a defect on the elegant and appropriate, and much apstage, will be a source of delightful in- plauded. The Epilogue is from the terest in the closet. It will be read with pen of Mrs. Wilmot. Both were well even more pleasure than it is seen. The spoken; the former by Mr. Connor, tbe performance in general was excelleut. lalter by Miss Brunton.


1818. Nu, Rob Roy-Tom Thumb.

10. Fazio-Libertine. 9. Fazio-- Libertine,

11. Devil's Bridge-killing no Murder, 9. Rob Roy--Love, Law, and Physic.

19. Venice Preserved-Who's My Fathem? 30. komen and Juliet-diarquis de Carabas,

14. Rob Roy-Ditto. or Puss in Boots,

15. Fazio-Russian Festival-Ditto. 31. Rob Roy-Husbands and Wives.

16. Rob Roy-Ditto. April 1. Duis Youthful Days of Frederick the 17. Dinto- Ditto. Great.

18. Guy Mannering-Ditto. 2. Dino Aladdin.

19. Point of Honour-Who's My Father3. Fazio-Cymon.

Harlequin Gulliver. 4. Rob koy-- Midas.

21. Rob Rey-Who's My Father? e. Ditto-Harlequin Golliver.

29. Bellamira, or the Fall of Tunis–Ditto.! 7. Ditto- Aladdin.

23. The Devil's Bridge-Who's My Father 8. Apostate-Hushands and Wivos.

84. Bellamira-Dirto. 9. Rob koy-Harlequin Gulliver.

25. Rob Roy-Who's My Father?

ENGLISH OPERA. Mr. Matoews at Home.-Mr. Ma. at least we can say that nothing of the thews, the comedian,* and, if we may kind which we ever saw comes near the add withoot offence to him, the mimic, excellence of his invitations, his multihaving retired from Covent Garden plied powers, and versatile talent. Theatre, has undertaken a new species There is somethivg in good mimicry of public entertainment, which he enti. which affords great delight. It resem. tles, “ Mail Coach Adventures," and bles humorous satire ; it levels the most exhibits singly at the English Opera lofty, and lashes the most ridiculous. House, about four nights iu the week. It is perhaps not attributable to one of We bave bad the pleasure of hearing the kindest principles in the human bun once, avd certaiuly conceive that wind, Ibat mankind are so much amusbis performances are witbout parallel; ed with the display of his art; for all

enjoy it except ihe person who is said • For a Portrait and Memoir vide p. 283. to be taken off. Yet it is but fair to ob

serve, that in Mr. Mathews' imitations evening's amusements. The next part there is no ill-nature. The peculiarities consists of Ventriloquy, in wbich a sick of men, of nations, are exquisitely re- man, a French valet, a cook, a butler, a presented, and so little caricatured, that little boy, &c. are all represented by if ever an individual could bear to see Mr. Mathews, whose imitative powers his own, or his country's distinguishing are wonderfully displayed in giving an features made a subject for laughter, we identity to these very different characthink he most even join in the risibi- ters, and in those vocal deceptions in lity which the efforts of this admirable which this strange faculty consists

, mimic excites.

The third, and last part, is a whimsical Ady description of these entertain. series of songs and stories. A law trial meots must of necessity bo fat and is admirably delineated, and in the wearisome. We can only say that we pleadings and charge to the jury some were heartily amused with them, and well-known counsel and judges are Jaughed an hour by St. Martin's clock recognized. A drunken man lighting at the changes, personations, drollery, his pipe at a candle, is capitally done ; songs, and ventriloquy, of which they and, not to enumerate the many at. were composed.

tractions of this scena, we shall conThe performer, to whom, if ever to clude with noticing the similitude of any, Sbakspeare's line is applicable- an old Scotch minister's widow telling a • And one man in his time plays many parls,'

tale, beyond which, we are of opiniou,

it is impossible for the mimic art to go. opens the business with an Address, in Face, voice, look, and manoer, are ioi. which he explains the reasons for bis mitably copied :--the portrait is as pero leaving Covent Garden, the priocipal offect as one of Vandyke's, and as for. which is his not having been cast into cibly and naturally coloured. In the legitimately comic parts, and being not end, Hamlet's advice to the players is only rarely employed, but always in delivered; and, as in the former parts, charaters of buttoonery and imitation. the French tragedy and its supporters Thus baffled in bis ambition, he has constitute a considerable feature of the been driven to-make a fortune by the entertainment; we have here the chaart of which he is so perfect a master, racteristics of most of our own actors, and which be yet affects to under-rate. Kemble, Young, Kean, Fawcett, Blan. There is some little inconsistency in chard, Pope. Munden, Incledon, Cooke, this, but it is nevertheless true, that &c. imitated with a degree of skill that Mr. Mathews' talents were neither dis. places each of them before us in propria played frequently enough nor to advan. persona, and causes us to doubt our tage, in the large theatre to the corps of senses when they inform us, that all which he belonged. He may, there. these varieties are One. fore, without a murmur upite with the The very extraordinary nature of public, who crowd to him every night, these performances will excuse the in saying, • 'Tis better as it is.'

length of our criticism (if it may be After tbis iotroduction, there is an called so, when we have only to exaccount of a journey to the North in press our approbation ;' and as we the Mail Coach, with the company; in consider it not very probable that our which, their tones, manners, and babits, readers may ever have it in their power we are speedily brought acquainted, to behold such an exbibition again, we and recitation and soug agreeably di- finish with recommending to them, by versify the descriptions and imitatious. all means, to see this clever and unique There is much fun in this portion of the -A1 Home.

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SADLER'S WELLS. Our limits this month will only allow and, subjoining a list of the perform. us to notice that this theatre has been ances, we defer remarks till our next. very well allended since its opening ;


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Warch 83 to 48. Canght at Last-The Elemento; or,

or, Where is Harlequin ;-The GheWhere is Harlequin _The Gheber;

ber; or, The Fire Worshippers. or, The Fire Worshippers.

April 19 to 11. The Elements; or, Where is Hasle Mareh so to April 1. Ditto-Ditto-Ditto.

quin ?-Ditto-Ditto. April 6 to 11. Gathering of the Clans—Ihe Eléments; April 20 to 25. Dillo-Ditte Ditto.

TAB SURREY THEATRE. Mukce 30. The laughable Bage. takes of the Duke, and his transformed Selle of Trick for Trick was revived representative Trappolin, kept the audithis evening, in which Fitzwilliam 'forence in continued good humour, and the first time sustained the character of the curtain fell amidst the loudest apBru, and left the audience no room to plauses which could hail the announced regret the absence of the original per, repetition of this dramatic novelty. Server.

APRIL 20. We enjoyed a bigh treat APLIL 6. “ Pay me my Wages ?" this evening in witnessing the re-progain drew a crowded auditory, and duction of Miss Joanna Baillie's “ Conadded a fourth talisman of attraction stantine and Valeria,” which is in our to the Three, which continue to exer- opinion better performed now, than cize their anabated infuence over the even on its first appearance, when it umerous visitors of this theatre. was so long, and so deservedly, popular.

APRIL 13. A Dew Comic Burletta The Duke and the Devil continues to Spectacle, taken from the Italian, by attract, without the aid of the Black ar Aston Cockayne, under the eccen- art, and the fair debâtantes who last tric appellation of " * The Duke, and week made their first curtsey at the like Devil .was this evening, com- Surrey Theatre in this piece, continue pletely successful. The whimsical equi- to amply justify the anticipations exToques arising from the constant mis- cited by their earlier performances.

PERFORMANCES. Earth's and ts. Florio and Rosa-Sir Launcelot April 13 to 18. Duke and the Devil-Sir Launcelot Greaves-The Three Talismans.

Greaves-Three Talismans. Kata Sot April 4. Trick for Trick-Three Talis. April 20 to 25. Sir Launcelot Greaves-Constanting mans-Sir Launcelot Greaves."

and Valerian Duke and the Devil. 6 te n. 5, 6, 7, of Pay me my Wages,Three

Talismans-Sir Launcelot Greaves.



TAR PROGRESS OF MUSIC. How many tears in childhood shed

Have fall'n forgotten on thy head! ancient days, when Taste was young, How oft returning Pleasure's ray The dalcet virginal she strung,

Those April drops exhal'd away! When stif io carkapet and caul,

True type of time !-of joys or cares The spinster of the good old ball,

Thy polish‘d brow no record bears ; barazza shapes erected bigh

Yet thou art lovd, for thou alone The stworks of the vast goose-pye,

Art here when youth and mirth are gone; While causes of ox and flanks of deer And tho' ungrateful Fashion's doom Sasked her eareasing Şire to cheer: Consigns thee to a garret's gloom, Then in her lattie'd bow's conteot,

Like me, with worn-out tongue and quill O'zlası or tapestry she bent,

Rare servant !-thou shalt serve me still: Op strail'd through alleys straight and dim, Thy coat the poet's hearth shall cheer, Midst shaven yews and statues grim ;

And deck bis solitary bier.
And if so giant folio told

Now Taste is older, and the reign
Of dwarfs and dámes and barons old, Of mighty Music comes again,
The soft low-# bisp'ring virginal

As when in bold Arion's day
Cane last her drowsy eve to lull.

She taught strange fish a roundelayla coif and bib the grandam yet

Made tigers waltz, and breath'd soft airs Remembers her long-lost spionet,

To dying swans and dancing bears : Where first in hoop and flounce array'd, But bland in pow'r, the “heav'nly maid" Tarice ruffled sleeve and bright brocade,

Gives to her noblest rival aid : Erect de sat, - 'till bors and smiles Expellid from rout, “ at home," and ball, Repaid the wondrous gavot's toils,

Permitted scarce a morning call, While fresh in pompadour and love,

To Music's feast, with joyful bums, Lac d hat, wir'd coat, and gold-fring'd glove, The exile Conversation comes ; Her squire, with strange delight amaz’d, When gas and ladies' eyes illume Alike ber tune and tent-stitch prais d. The glories of the concert-roomRejected harpsichord !-with thee “How exquisite that trill ! but when I celebrate my jubilee:

From Paris comes the Duke again? Fall bfty years thy stordy frame

Where is my mantle?-let my aunt | dow Has been ja heari and speech the same ; l'on coming-in Rob Roy's portmanteauConcise and sharp, but bold and clear Is it Beethoven - No, MozartAs ancient wit and speech sincere,

We found Childe Harold's second partBland emblem too of joy and grief,

So much carbonic fume!- My dear, As Leed, as varied, and as brief !

Why don't they burn a Davy here?

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