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1819.
April 17. She Wou'd and She Wou'd Not-Sleeping

Draught.
18. Mountaineers-Innkeeper's Daughter.
20. King Richard the Ild-Sleeping Draught.
31. Deal and Dumb Amoroso, King of Little

Britain-Falls of Clyde.

1818.
April 22. Othello-Amoroso.
93. Lady of the Manor-Innkeeper's Daugh.

ter.
24. Jew of Malta-Sleeping Drauglit.
85. Ditto-Amoroso.

are

COVENT GARDEN. APRIL 11.—This evening by permis- borror is substituted for the afilicting sion of, or agreement with, the English and refined. Opera-house at the Lyceum, the Opera After the Tragedy this evening, a of The Devil's Bridge was performed new Parce, intitled Who's my Father ? on Saturday night, for the first time at was produced for the first time. Covent-garden Theatre; in wbich Mr. Tbe merit of this little piece consists Braham, as Count Belino, exerted his altogether in situation. The jokes vocal talents in the song of Love and some of them old and others Glory, with all his former taste and ex tame; but an old, or even a tame and ecution. Miss Stephens, io Rosalvina, imbecile joke, will occasionally tell, introduced a new song of Bishop's com- according as the circumstances under position, Resl my Child, which is a plain which they are delivered prepare the tive air, and was sung by her with all way for their reception. This principle her wonted sweetness. The olher parts, we thought exemplified in the performdrarnatic aud musical, were well sug ance of which we are speaking. Mr. tained by Fawcett, Blanchard, and Miss Liston, who personated the character of Matthews; and the piece, which has a servant, and was afterwards supposed but 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 lo bis extraordinary humour, APRIL 13.—This evening the play of owed perhaps still more to the extraorVenice Preserved was admirably per. dinary predicament in which he was formed at this Theatre. Their Röyal 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 :gare animaliou 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.

rare union in dramatic represen. Einery). In order to carry her off, he tation. C. Kemble was as spirited in disguised himself as a gardener, and Jaffier as we ever saw him, and entered her father's service. A letter Jatfier 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 never admired more. Her bye-play was of his servant, was prosecuting disexquisite, and the pathos and judgment honourable views towards bis daughter, with which she executed every part of and inclosing his picture, the more perher arduous task, is not to be exceeded. fectly to secure his detection, Fanny, The final scenes of Belvidera are highly the waiting-inaid (Mrs. Gibbs), opeus wrought, and if we have one doubting and reads it, and substitutes in the room stricture to offer, it is that a less fre- of bis Lordship's picture that of poor quent recurrence to the hysteric, in Fitz (Mr. Lisiou), her fellow-servant wbich sbe 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 bis intentions honourable. Dying in convulsions seems, since Kean Such is the principal incident. introduced it, to have become an un- Jacquey addresses and struts according varying stage rule; yet the majority of to his conception, of the manners of a human-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 happy 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 Alton imitation of the rattles in the throat, declares himself, to the astonishment of or the death hiccough, is by no means the Major and bis intended son in-law agreeable, and the true end of tragedy Fitz, who vainly supposed ibat he had is mistaken, when the borrible and found a father among the Nobility.

The

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

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

graced him, and thus became the object April 22.-A new Tragedy by Mr. of his revenge and a captive with her. Shiel, was performed under the title of Salerno, the supposed father of BellaBellamira, or The Fall of Tunis, and the mira, meets Montalto, who discovers in privcipal Dramatis Personæ are

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

Mr. Young. wife and child. Salerno says bis daugh. Manfredi.

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

.Mr. MACREADY. in the power of Sipano. The father is Bellamira.. ...... Miss O'NEIL.

horror struck. Jo the mean time Sioano The following is a sketch of the has forced Bellamira to his haram ; 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 her Charles the Fifth is marching against the husband, threatens to put him to instant pirate city. He arms his Christian fel death 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 Monnor the embraces of his wife and child, talto rushes in and receives his daughter could make bim abandon the common in his arms. Tunis is now altacked.

He sees a child dragged frem Sinano is called off to battle, having its mother, attempts to save it, but is previously sent the father, husband, and prevented. The frantic mother now other captives to a dungeon. Manfredi appears—it is Beilamira, Manfredi's and the others are carried out for inwife-the child was theirs He attempts stant execution ; Montallo is left bebind to save his wife from the pirate's graep chained to a pillar. The dungeon door - they are about to murder bim, when is left open in the confusion. Bellamira suddenly Montalto, the Governor of comes in, finds her father Sinano reTunis, appears, and saves him. This turns, accuses Montalto of treachery, personage, whose character is drawn and stabs him. The shout of battle is with great force and magnificeoce, had heard, and Sinano goes out. A scene been Adopiral of Venice, was stigmatic of agonizing recognition takes place zed unjustly as a traitor to the Repub. between the father and daughter. Sinano lic, and had bis wife and only child returns, wounded and bloody, bis turban murdered by his own brolher. He fed off, and his branded forehead bare, lo to Tunis, became a renegade, and the carry off Bellamira. Monlalto kills him Vicegerept of Haradin, in his 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 com. Jamira,-hears her name-it was that of plex than that of Mr. Shiel's former his murdered child. He restores her to iragedy. In The Apostale, the march freedom, her husband, and her child. of the events was more simple and Sinano, apolher 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 may and succecd Montalto as Governor of use that expression), by which it moves, Tunis. Sinano would spare them at the is more powerful. The situations are instigation of Montalio, but that he terribly, perhaps too terribly, powerful. finds there the name of Manfredi, his He tortures innocence into agony, and mortal foe. Montalto provides a ship slings the savngeness of human passion to carry away Manfredi aod bis wife- beyoud the ferocily of human nature.

cause

His diction in this play is more poetical Miss O'Neil exbibited a rare union of than that of The Apostate It abounds tragic tenderness anu tragic terror. The with the true eloquence of tragedy part of Bellamira powerfully supplies the eloquence of sentiment and passion. these springs of einotions, and is admiThe falber, speaking of his child, says, rably suited to her. Mr. C. Kemble If I had stood upon the displayed with great happiness the force

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

Mr. Young bad a magoificent part in That underneath 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 his bonour and his oath says,

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

bas made “a giant's step” in professiBut there's another voice within me here: onal reputation. He performed one It cries as loud, and it shall be obeyed. scene in a style which would bave added The despot honour in a hero's breast

honour to the greatest master of the Holds pot a rule more absolute than love

art. On its own thrope—a woman s trembling upon this triumph of Mr. Macready, as

We dwell with the more pleasure heart,

we were among the first to appreciate Wilb all its success, however, it is an his merit, and anticipate the eminence imperfect tragedy. There is in 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, aod necessarily lead. The play was given so much art, as to leare 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 peo of Mrs. Wilmot. Both were well even wore pleasure than it is seen. The spoken; the former by Mr. Condor, the performance in general was excellent. latter by Miss Brunton.

PERFORMANCES, JR18.

1818. Mar. 26. Rob Roy-Tom Thumb.

10. Fazin-Libertine. 2. Fazio-Libertine.

11. Devil's Bridge Killing no Murder. 98. Rob Roy-Love, Law, and Physic.

19. Venice Preserved-Who's My Father? so. komeo and Juliet-arquis de carabas,

14. Rob Roy Ditto. or russ in Boots.

15 Fazı-Russian Festival-Ditto. 31. Rob Rov-Husbands and Wives.

16. Rob koy-Ditto. April 1. Ditto-Youtitul Days of Frederick the

17. Dilto-Ditto. Great.

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

19. Point of Honour--Who's My Father) 3. Fazio-tymon.

Harlequin Guliver. 4. Rob Roy-Midas.

21. Rob Roy-Who's My Father? 6. DiltonHarlequin Gulliver.

89. Bellamira, or the Fall of Tunis-Ditto. 7. Ditto- Aladdin.

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

94. Bellainira-Dirto. 9. Rob koy-Harlequin Gulliver.

25. Rob Roy-Who's My Father?

ENGLISH OPERA. MR. MATHEWS AT HOME -Mr. Ma at least we can say that nothing of the thews, the comedian, * and, if we may kind wbicb we ever saw comes near the add without ofleuce to him, the mimic, excellence of his imitations, his multihaving retired from Covent Garden plied powers, and versatile talent. Theatre, has undertaken a new species There is something in good mimicry of public entertainment, which he enti• which affords great delight. It resem. ties, “ 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 nigbts in the week. It is perhaps not attributable to one of We have had the pleasure of hearing the kindest principles in the human him once, and certainly conceive that wind, that mankind are so much amus. bis performances are without parallel; ed with the display of his art; for all

enjoy it except i he person who is said • For a Portrait and Memoir vide p. 283. to be laken off. Yet it is but fair to ube

serve, that in Mr. Mathews' imitations

evening's amusements. The next part there is no ill-nature. The peculiarities consists of Ventriloquy, in which a sick of men, of nations, are exquisitely re man, a French valet, a cook, a butler, a presented, and so little caricatured, that Jittle 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 differeot characthink he must 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 Aoy description of these entertain. series of songs and stories. A law trial ments must of necessity be flat 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 laughed 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, Shakspeare's line is applicable an old Scotch minister's widow telling a • And one man in his time plays many parts, it is impossible for the mimic art to go.

tale, beyoud which, we are of opinion, opens the business with an Address, in Face, voice, look, and manner, are ini. which he explains the reasons for bis mitably copied :-the portrait is as perleaving Covent Garden, the priocipal of fect as one of Vandyke's, and as forwhich is his not having been cast into cibly and naturally coloured. Jo 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 sopporters Tbus baffled in his ambition, he has constitute a covsiderable feature of the been driven to-make a fortune by the entertainment; we have here the cba. art 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 unite 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 this introduction, there is an called so, when we have only to exaccount of a journey to the North in press our approbation ;) and as the Mail Coacii, with the company; in consider it not very probable that our which, their tones, manners, and habits, readers may ever have it in their

power we are speedily brought acquainted, to behold such an exhibition again, we and recitation and song agreeably di- finish with recommending to them, by versify the descriptious and imitations. all means, to see this clever and unique There is much fun in this portion of the - At Home.

we

1

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

PERFORMANCES. 1818.

1818. March 23 to 28. Caught at Lasi-The Elements; or,

or, Where is Harleqnin ;--The Ghe. Where is Harlequin - The Gheber;

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

April 19 to 11. The Elements; or, Where is Harle, March 30 to April 1. DittoDitto Ditto.

quin -Ditto-Ditto. April 6 to 11. Gathering of the Clans-Thc Elements; April 20 to 25. Ditto-Ditto-Ditto.

THE SURREY THEATRE. MARCH 30. The laughable Baga. takes of the Duke, and his transformed telle of “ Trick for Trick” was revived representative I rappolin, kept the audio, this evening, in wbich Fitzwiliam for ence in cootinued good humour, and the first time sustained the character of the curtain feil amidst the loudest apBrass, and left the audience no room to piauses which could hail tbe announced regret the absence of the original per. repetition of this dramatic novelty. former.

APRIL 20. We enjoyed a bigh treat APRIL 6. Pay me my Wages?"! this evening in witnessing the re-proagain 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 cise their unabated influence over the even on its first appearance, when it namerous visitors of this theatre.

was so long, and so deservedly, popular. APRIL 13. A new Comic Burletta The Duke and the Devil continues to. Spectacle, taken from the Italian, by attract, without the aid of the Black Sir Aston Cockayne, under the eccen art, and the fair debûtantes who last tric appellation of The Duke, and week made their first curtsey at the the Devil !was this evening, com- Surrey Theatre in this piece, continue pletely successful. The whimsical equi. to amply justify the anticipations ex. voques arising from the constant mis- cited by their earlier performances.

PERFORMANCES. JO18.

1818. March 97 and 48. Florio and Rosa-Sir Launcelot April 19 to 18. Duke and the Devil-Sir Launcelot Greaves--The Tbree Talismans.

Greares-- Three Talismans. March so to April 4. Trick for Trick-Three Talis. April sa to 25. Sir Launcelot Greaves-Constantine mans-Sir Launcelot Greaves.

and Valeria-Duke and the Devil. April 6 to 11, 5, 6, 7, or Pay me my Wages—Three

Talismans-Sir Launcelot Greaves.

POETRY.
THE PROGRESS OF MUSIC. How many tears in childhood shed

Have fall’n forgotten on thy head!
N ancient days, when Taste was young, How oft returning Pleasure's ray

Those April drops exhal'd away! When stiff in carkanet and caul,

True type of time !--of joys os cares The spinster of the good old hall,

Thy polish d brow no record bears ; Io pagan shapes erected bigh

Yet thou art lov'd, for thou alone The out works of the vast goose-pye,

Art bere when youth and mirth are gone; While cbipes of ox and flanks of deer And tho' ungrateful Fashion's doom Smoked her carousing Sire to cheer: Consigos thee to a garret's gloom, Then in her lattic'd bow'r content,

Like me, with worn-out tongue and quillO'er lawn or tapestry she bent,

Rare servant!- thou shalt serve me still:
Or strollid through alleys straight and dim, Thy coat the poet's heartb sball cheer,
'Midst shaven yews and statues grim; And deck his solitary bier,
And if no giant folio told

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

As when ia bold Arion's day
Came last her drowsy eve to lull.

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

Made tigers waliz, and breath'd soft airs Remembers her long-lost spinnet,

To dying swans and dancing bears :
Where first in hoop and flounce array'd, But bland in pow'r, the heav'nly maid"
Thrice ruffled sleeve and bright brocade, Gives to her noblest rival aid :-
Erect she sat,-'till bows 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 hums,
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 her tune and tent-stitch prais'd. The glories of the concert-room-

Rejected harpsichord !--with thee llow exquisite that trill !—but when
I celebrate my jubilee;

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

Where is my inantleilet my aunt | now Has been in heart and speech the same; I'm coming-in Rob Roy's portmanteauCoacise and sbarp, but bold and clear Is it Beethoven - No, MozartAs ancient wit abd speech siacere,

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

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

Why don't tbey burn a Davy heroi

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