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COVENT GARDEN.

APRIL 11. This evening by permission of, or agreement with, the English Opera-house at the Lyceum, the Opera of The Devil's Bridge was performed on Saturday night, for the first time at Covent-garden Theatre; in which Mr. Braham, as Count Belino, exerted his vocal talents in the song of Love and Glory, with all his former taste and execution. Miss Stephens, in Rosalvina, introduced a new song of Bishop's composition, Rest my Child, which is a plaintive air, and was sung by her with all her wonted sweetness.-The other parts, dramatic aud musical, were well sustained by Fawcett, Blanchard, and Miss Matthews; and the piece, which has but little merit, save the music, was extremely well received by a genteel

audience.

APRIL 13.-This evening the play of Venice Preserved was admirably performed at this Theatre. Their Royal Highnesses of Gloucester were present, and, with a crowded and brilliant house, gave animation to the actors. Young's Pierre is a fine-toned piece of acting, wonderfully impressive and chaste,

a

rare union in dramatic representation. C. Kemble was as spirited in Jaffier as we ever saw him, and Jaffier is a very difficult, though a very effective character. Miss O'Neil we never admired more. Her bye-play was exquisite, and the pathos and judgment with which she executed every part of her arduous task, is not to be exceeded. The final scenes of Belvidera are highly wrought, and if we have one doubting stricture to offer, it is that a less frequent recurrence to the hysteric, in which she is so great, and possibly a less painful dying agony, would be at once more finely feminine and affecting. Dying in convulsions seems, since Kean introduced it, to have become an unvarying stage rule; yet the majority of human-kind do not die in these dreadful struggles, and we should indeed be happy to see our performers sometimes go off a little more easy. The perfect imitation of the rattles in the throat, or the death hiccough, is by no means agreeable, and the true end of tragedy is mistaken, when the horrible and

horror is substituted for the afflicting and refined.

After the Tragedy this evening, a new Farce, intitled Who's my Father? was produced for the first time. The merit of this little piece consists altogether in situation. The jokes are some of them old and others tame; but an old, or even a tame and imbecile joke, will occasionally tell, according as the circumstances under which they are delivered prepare the way for their reception. This principle we thought exemplified in the performance of which we are speaking. Liston, who personated the character of a servant, and was afterwards supposed to be a Lord, gave effect to many points of the dialogue, which, though they owed much to his extraordinary humour, owed perhaps still more to the extraor dinary predicament in which he was placed when he uttered them. To dispatch the plot in a few words, it appeared to be this:

Mr.

Lord Alton (Mr. Jones), the son of some Noble Marquis, loved Emily (Miss Foote), the daughter of a Major (Mr. Emery). In order to carry her off, he disguised himself as a gardener, and entered her father's service. A letter having been addressed to the Major, stating that Lord Alton, in the disguise of his servant, was prosecuting dishonourable views towards his daughter, and inclosing his picture, the more perfectly to secure his detection, Fanny, the waiting-maid (Mrs. Gibbs), opeus and reads it, and substitutes in the room of his Lordship's picture that of poor Fitz (Mr. Liston), her fellow-servant and admirer. The deception succeeds. The Major calls him to account; but he declares his intentions honourable. Such is the principal incident. lacquey addresses and struts according to his conception, of the manners of a Nobleman; but the Marquis having given his consent to the marriage of his son with Emily, on discovering that her portion was 20.000. Lord Alton declares himself, to the astonishment of the Major and his intended son in-law Fitz, who vainly supposed that he had found a father among the Nobility,

The

The piece concludes with a double marriage--that of his Lordship with Emily, and of Fitz with Fanny.

Upon such materials the Author has constructed a light agreeable little drama, which is as much as can be fairly demanded from those who write for the day, and write in that class of composition which never contemplates posterity. It was favourably received, and promises to live its hour, with a moderate portion of encouragement.

APRIL 22.-A new Tragedy by Mr. Shiel, was performed under the title of Bellamira, or the Fall of Tunis, and the principal Dramatis Person are-

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The following is a sketch of the plot:

Count Manfredi, a nobleman of Naples, in slavery at Tunis, discovers that Charles the Fifth is marching against the pirate city. He arms his Christian fellow-slaves against their tyrants, and becomes himself their leader, binding himself by an oath, that not libertynor the embraces of his wife and child, could make him abandon the common cause. He sees a child dragged from its mother, attempts to save it, but is prevented. The frantic mother now appears-it is Beilamira, Manfredi's wife-the child was theirs He attempts to save his wife from the pirate's grasp -they are about to murder him, when suddenly Montalto, the Governor of Tunis, appears, and saves him. This personage, whose character is drawn with great force and magnificence, had been Admiral of Venice, was stigmatized unjustly as a traitor to the Repub lic, and had his wife and only child murdered by his own brother. He fled to Tunis, became a renegade, and the Vicegerent of Haradin, in his absence, on the expedition against the approaching Spaniards. Montalto beholds BelJamira,- hears her name-it was that of his murdered child. He restores her to freedom, her husband, and her child. Sinano, another renegade, now arrives from the camp of Haradin, with an order to murder the Christian slaves, and succeed Montalto as Governor of Tunis. Sinano would spare them at the instigation of Montalto, but that he finds there the name of Manfredi, his mortal foe. Montalto provides a ship to carry away Manfredi and bis wife

Manfredi resolves to keep his oath, and Bellamira will not leave her husband. Sinano, during the conflict, comes indiscovers Manfredi, and has him dragged away-looks on Bellamira-it is the object of his early love, to carry off whom he had leagued with bandits, and in consequence, been degraded from his nobility, branded on the forehead as a robber, and cast out from Naples. Manfredi it was who defeated and disgraced him, and thus became the object of his revenge and a captive with her. Salerno, the supposed father of Bellamira, meets Montalto, who discovers in him a brother and the murderer of his wife and child. Salerno says his daughter lives-Bellamira, then at Tunis, and in the power of Sinano. The father is horror struck In the mean time Sinano has forced Bellamira to his haram; she grasps a poignard from Sinano's breast; threatens to stab herself if he approached. He goes out and brings in her husband, threatens to put him to instant death unless she throws down the dagger. She is resolute. He brings in her child; the dagger falls from her hand. Sinano is about to seize her, when Montalto rushes in and receives his daughter in his arms. Tunis is now attacked. Sinano is called off to battle, having previously sent the father, husband, and other captives to a dungeon. Manfredi and the others are carried out for instant execution; Montalto is left behind chained to a pillar. The dungeon door is left open in the confusion. Bellamira comes in, finds her father Sinano returns, accuses Montalto of treachery, and stabs him. The shout of battle is heard, and Sinano goes out. A scene of agonizing recognition takes place between the father and daughter. Sinano returns, wounded and bloody, his turban off, and his branded forehead bare, to carry off Bellamira. Montalto kills him -Manfredi comes in-Tunis is taken and the curtain falls.

The plot is considerably more complex than that of Mr. Shiel's former tragedy. In The Apostate, the march of the events was more simple and direct. But in the present play, the progress of the action is equally rapid, and the momentum (if we may use that expression), by which it moves, is more powerful. The situations are terribly, perhaps too terribly, powerful. He tortures innocence into agony, and stings the savageness of human passion beyond the ferocity of human nature.

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Obey it

But there's another voice within me here:
It cries as loud, and it shall be obeyed.
The despot honour in a hero's breast
Holds not a rule more absolute than love
On its own throne-a woman's trembling
heart.

With all its success, however, it is an imperfect tragedy. There is in it a redundancy of narration-written, it must be admitted, with so much spirit, and so much art, as to leave an impression, as deep and distinct upon the audience, as if the action passed before their eyes. But what is a defect on the stage, will be a source of delightful in terest in the closet. It will be read with even more pleasure than it is seen. The performance in general was excellent.

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Miss O'Neil exhibited a rare union of tragic tenderness and tragic terror. The part of Bellamira powerfully supplies these springs of emotions, and is admirably suited to her. Mr. C. Kemble displayed with great happiness the force of his impassioned style as Manfredi. Mr. Young had a magnificent part in Montalto, and produced some bursts of evidently improve his performance of sublime and fervid emotion, but can the character. Mr. Macready, as Sinanó, has made "a giant's step" in professional reputation. He performed one scene in style which would have added honour to the greatest master of the We dwell with the more pleasure upon this triumph of Mr. Macready, as we were among the first to appreciate his merit, and anticipate the eminence to which superior talents, solid judg ment, and cultivated taste, like his, necessarily lead. The play was given out with not only unanimous, but enthusiastic applause.

art.

The prologue, by Mr. Graham, was elegant and appropriate, and much ap plauded. The Epilogue is from the pen of Mrs. Wilmot. Both were well spoken; the former by Mr. Connor, the latter by Miss Brunton.

PERFORMANCES.

28. Rob Roy-Love, Law, and Physic.

30. komeo and Juliet-Marquis de Carabas, or Puss in Boots.

31. Rob Rov-Husbands and Wives.

1. Ditto-Youthful Days of Frederick the Great.

2. Ditto-Aladdin.

3. Fazio-Cymon.

4. Rob Roy-Midas.

6. Ditto-Harlequin Gulliver.

7. Ditto-Aladdin.

8. Apostate-Husbands and Wives, 9. Rob koy-Harlequin Gulliver.

ENGLISH

MR. MATHEWS AT HOME -Mr. Mathews, the comedian,* and, if we may add without offence to him, the mimic, having retired from Covent Garden Theatre, has undertaken a new species of public entertainment, which he enti ties," Mail Coach Adventures," and exhibits singly at the English Opera House, about four nights in the week. We have had the pleasure of hearing him once, and certainly conceive that bis performances are without parallel;

For a Portrait and Memoir vide p. 253.

1818.

10. Fazio-Libertine.

11. Devil's Bridge-Killing no Murder. 19. Venice Preserved-Who's My Father? 14. Rob Roy-Ditto.

15 Fazio-Russian Festival-Ditto.

16. Rob Roy-Ditto.

17. Ditto-Ditto.

18. Guy Mannering-Ditto.

19. Point of Honour-Who's My FatherHarlequin Guliver.

21. Rob Roy-Who's My Father?

99. Bellamira, or the Fall of Tunis-Ditto. 23 The Devil's Bridge-Who's My Father 24. Bellamira-Ditto.

25. Rob Roy-Who's My Father?

OPERA.

at least we can say that nothing of the kind which we ever saw comes near the excellence of his imitations, his multiplied powers, and versatile talent.

There is something in good mimicry which affords great delight. It resembles humorous satire; it levels the most lofty, and lashes the most ridiculous. It is perhaps not attributable to one of the kindest principles in the human mind, that mankind are so much amused with the display of his art; for all enjoy it except the person who is said to be taken off. Yet it is but fair to ob

serve, that in Mr. Mathews' imitations there is no ill-nature. The peculiarities of men, of nations, are exquisitely represented, and so little caricatured, that if ever an individual could bear to see his own, or his country's distinguishing features made a subject for laughter, we think he must even join in the risibility which the efforts of this admirable mimic excites.

Any description of these entertainments must of necessity be flat and wearisome. We can only say that we were heartily amused with them, and laughed an hour by St. Martin's clock at the changes, personations, drollery, songs, and ventriloquy, of which they were composed.

The performer, to whom, if ever to any, Shakspeare's line is applicable• And one man in his time plays many parts,' opens the business with an Address, in which he explains the reasons for his leaving Covent Garden, the principal of which is his not having been cast into legitimately comic parts, and being not only rarely employed, but always in charaters of buffoonery and imitation. Thus baffled in his ambition, he has been driven to-make a fortune by the art of which he is so perfect a master, and which he yet affects to under-rate. There is some little inconsistency in this, but it is nevertheless true, that Mr. Mathews' talents were neither displayed frequently enough nor to advantage, in the large theatre to the corps of which he belonged. He may, therefore, without a murmur unite with the public, who crowd to him every night, in saying, 'Tis better as it is.'

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After this introduction, there is an account of a journey to the North in the Mail Coach, with the company; in which, their tones, manners, and habits, we are speedily brought acquainted, and recitation and song agreeably diversify the descriptions and imitations. There is much fun in this portion of the

SADLER'S

Our limits this month will only allow us to notice that this theatre has been very well attended since its opening;

JRIR.

evening's amusements. The next part consists of Ventriloquy, in which a sick man, a French valet, a cook, a butler, a little boy, &c. are all represented by Mr. Mathews, whose imitative powers are wonderfully displayed in giving an identity to these very different characters, and in those vocal deceptions in which this strange faculty consists. The third, and last part, is a whimsical series of songs and stories. A law trial is admirably delineated, and in the pleadings and charge to the jury some well-known counsel and judges are recognized. A drunken man lighting his pipe at a candle, is capitally done; and, not to enumerate the many at tractions of this scena, we shall conclude with noticing the similitude of an old Scotch minister's widow telling a tale, beyond which, we are of opinion, it is impossible for the mimic art to go. Face, voice, look, and manner, are inimitably copied :—the portrait is as perfect as one of Vandyke's, and as forcibly and naturally coloured. In the end, Hamlet's advice to the players is delivered; and, as in the former parts, the French tragedy and its supporters constitute a considerable feature of the entertainment; we have here the characteristics of most of our own actors, Kemble, Young, Kean, Fawcett, Blan chard, Pope, Munden, Incledon, Cooke, &c. imitated with a degree of skill that places each of them before us in propria persona, and causes us to doubt our senses when they inform us, that all these varieties are ONE.

The very extraordinary nature of these performances will excuse the length of our criticism (if it may be called so, when we have only to express our approbation;) and as we consider it not very probable that our readers may ever have it in their power to behold such an exhibition again, we finish with recommending to them, by all means, to see this clever and unique At Home.

WELLS.

and, subjoining a list of the performances, we defer remarks till our next.

PERFORMANCES.

March 23 to 28. Caught at Last-The Elements; or, Where is Harlequin -The Glober; or, The Fire Worshippers.

March 30 to April 1. Dito-Ditto-Ditto.
April 6 to 11. Gathering of the Clans-The Elements;

1818.

or, Where is Harlequin :-The Ghe ber; or, The Fire Worshippers. April 19 to 11. The Elements; or, Where is Harlequin-Ditto-Ditto.

April 20 to 25. Ditto-Ditto-Ditto.

THE SURREY THEATRE.

MARCH 30. The laughable Bagatelle of" Trick for Trick" was revived this evening, in which Fitzwilliam for the first time sustained the character of Brass, and left the audience no room to regret the absence of the original performer.

APRIL 6. "Pay me my Wages?" again drew a crowded auditory, and added a fourth talisman of attraction to the Three, which continue to exercise their unabated influence over the numerous visitors of this theatre.

takes of the Duke, and his transformed representative Trappolin, kept the audience in continaed good humour, and the curtain fell amidst the loudest applauses which could hail the announced repetition of this dramatic novelty.

APRIL 20. We enjoyed a high treat this evening in witnessing the re-production of Miss Joanna Baillie's "Constantine and Valeria," which is in our opinion better performed now, than even on its first appearance, when it was so long, and so deservedly, popular. The Duke and the Devil continues to attract, without the aid of the Black art, and the fair debutantes who last week made their first curtsey at the Surrey Theatre in this piece, continue to amply justify the anticipations excited by their earlier performances. PERFORMANCES.

APRIL 13. A new Comic Burletta Spectacle, taken from the Italian, by Sir Aston Cockayne, under the eccentric appellation of "The Duke, and the Devil" was this evening completely successful. The whimsical equivoques arising from the constant mis

1818.

March 27 and 28. Florio and Rosa-Sir Launcelot Greaves-The Three Talismans.

March 30 to April 4. Trick for Trick-Three Talismans-Sir Launcelot Greaves.

April 6 to 11. 5, 6, 7, or Pay me my Wages-Three Talismans-Sir Launcelot Greaves.

Ν

1818.

April 19 to 18. Duke and the Devil-Sir Launcelot Greaves-Three Talismans.

April 20 to 25. Sir Launcelot Greaves-Constantine and Valeria-Duke and the Devil.

POETRY.

THE PROGRESS OF MUSIC.

IN ancient was young,

The dulcet virginal she strung,

When stiff in carkanet and caul,
The spinster of the good old hall,
In pagan shapes erected high

The outworks of the vast goose-pye,
While chines of ox and flanks of deer
Smoked her carousing Sire to cheer:
Then in her lattic'd bow'r content,
O'er lawn or tapestry she bent,

Or stroll'd through alleys straight and dim,
'Midst shaven yews and statues grim;
And if no giant folio told

Of dwarfs and dames and barons old,
The soft low-whisp'ring virginal
Came last her drowsy eve to lull.

In coif and bib the grandam yet
Remembers her long-lost spinnet,
Where first in hoop and flounce array'd,
Thrice ruffled sleeve and bright brocade,
Erect she sat,-'till bows and smiles
Repaid the wondrous gavot's toils,
While fresh in pompadour and love,
Lac'd hat, wir'd coat, and gold-fring'd glove,
Her squire, with strange delight amaz'd,
Alike her tune and tent-stitch prais'd.
Rejected harpsichord !-with thee
I celebrate my jubilee;
Full fifty years thy sturdy frame

Has been in heart and speech the same;
Concise and sharp, but bold and clear
As ancient wit and speech sincere,
Bland emblem too of joy and grief,
As keen, as varied, and as brief!

How many tears in childhood shed
Have fall'n forgotten on thy head!
How oft returning Pleasure's ray
Those April drops exhal'd away!
True type of time !-of joys or cares
Thy polish'd brow no record bears;
Yet thou art lov'd, for thou alone
Art here when youth and mirth are gone;
And tho' ungrateful Fashion's doom
Consigns thee to a garret's gloom,
Like me, with worn-out tongue and quill-
Rare servant!-thou shalt serve me still:
Thy coat the poet's hearth shall cheer,
And deck his solitary bier.

Now Taste is older, and the reign
Of mighty Music comes again,
As when in bold Arion's day

She taught strange fish a roundelay-
Made tigers waltz, and breath'd soft airs
To dying swans and dancing bears:
But bland in pow'r, the "heav'nly maid"
Gives to her noblest rival aid :-
Expell'd from rout, "at home," and ball,
Permitted scarce a morning call,
To Music's feast, with joyful hums,
The exile Conversation comes;
When gas and ladies' eyes illume
The glories of the concert-room-
"How exquisite that trill!—but when
From Paris comes the Duke again?
Where is my mantle ?-let my aunt know
I'm coming-in Rob Roy's portmanteau-
Is it Beethoven?—No, Mozart-
We found Childe Harold's second part-
So much carbonic fume! - My dear,
Why don't they burn a Davy hero?-

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