March 17. Town and Country.*-Harlequin and Mother Goose. 19. Id.-Id. dant, and very neatly expressed; the humorous strokes and the satirical hits at fashion, often new and ingenious. The scenery was generally excellent, but we must make two or three remarks on the machinery and dresses. That which Mr. Kemble put on when, in Wales, he sallied forth at night, amidst the storm, according to his common custom, was not consistont with the character he then assumed. A more rude attire would better have suited him then, and the one he at that time wore might have equipt him for town. Mr. Brunton, as Captain Glenroy, should have known that an officer never appears in his sash and belt without boots. With respect to the machinery in this play, all the elements are put in motion. The river, as we guess, which seemed to belong to a mill, in the first scene, more resembled the coiling of an enormous green serpent, than the troubled waters of a stream. The storm of snow and lightning together, however possible in nature, was new" to the general;" and the inventor of the thunder was not likely to deserve the fate of Salmoneus, for it was no imitation of Jove's "awful peals," but clearly and unequivocally a mortal noisy drum. We consider the Town aud Country as one of those dramas whose fate it is to return " iterum atque iterum spectanda theatris.”—It is possessed of considerable merit, and was, with a very few exceptions, received with great approbation. A neat prologue, by Mr. Taylor, was spoken by Mr. Brunton, and a humorous epilogue, from the Muse of George Colman, by Mr. Fawcett and Mr. Blanchard. “Llewelyn with his Patience dear," an air composed by Kelly, was sung after the storm at the end of the second act, by Miss Tyrer, with her usual sweetness and delicacy. A better time might have been chosen, as assuredly "some necessary question of the play was then to be considered." * This_play_improves by repetition. Some judicious alterations have taken place since the first night, which, with the greater confi dence of the actors, have added force to the representation. THEATRICAL CHIT-CHAT. MR. M. P. LEWIS bas a romantic melo-drame, called The Wood Damon, forthcoming at Druly-Lane theatre. According to report, the performers in it may say, with Dryden's Œdipus: "We play, For Hell's broke up, and ghosts have holiday.” On the second night of Town and Country, it was expected at the theatre, from intelligence received, that a Mr. Jones, and a party of his followers, intended to be present and endeavour to damn the play.— This threat was "honoured in the breach"-nothing of the kind occurred. We are truly sorry to hear, from Ireland, that a certain amiable actress has thought proper to make public complaint of the infidelity of her husband. A new comedy, by Mr. Cherry, has been read at Drury-Lané theatre. KING'S THEATRE. MADAME Catalani having recovered from the indisposition which prevented her singing on the Saturday, appeared on Tuesday, 24th February, in the part of Argenis, in a serious opera, in two acts, called Il Ritorno di Serse; the music by Portogallo. The plot of an Italian opera is generally contained in a small space. Xerxes, king of Persia, is betrothed to Argenis, the princess of the Parthians, who is in love with his son Sebastes. The father being supposed dead, the prince mounts the throne, and the lovers are on the eve of being united, when Xerxes returns. Sebastes is condemned to die, and Argenis runs mad. In this scene, Madame Catalani's acting was very great. Xerxes at length relents, and the lovers are made happy, as was the whole house by the exquisite execution of several airs by Madame Catalani. On the Saturday following, Madame Catalani fell ill again, and Madame Perini, thinking it cruel to be playing while the other was sick, with a sympathetic soul became indisposed also. One of the journals of the day has asserted what few will be found hardy enough to contradict, viz. "Madame Perini has certainly as much right to be taken suddenly ill, as Madame Catalani." This duet, however, was not discovered till late in the afternoon, when bills were posted up at the theatre, to inform the public that Il Principe di Tarento could not be performed, in consequence of Madame P.'s indisposition, and that Madame C. being also ill, there would be no performance that evening. A conflux of carriages assembled, the beau monde were enraged, the mob laughed, and all was disappointment and confusion. The managers, who are the greatest losers in every way, are to be pitied, and not blamed ; but these idle fancies, and preposterous "affectations," that a first rate singer cannot sing twice in one week, should be exposed and corrected. Madame Catalani possesses wonderful powers, and John Bull will subscribe to them all, those he understands, and those he does not, provided she behaves prettily, but let her beware of bursting the bubble, by irritating him. We hope that we shall hear of no more indisposi tions-to sing. We shall here say one word of the husband of Madame Catalani, whose rude behaviour has given considerable offence in the higher cir cles. Madame Catalani behaves with elegance and propriety, but her husband sanctions, by his practice, habits of a different complexion. He lately, at a music meeting, when Madame Catalani had the honour to sing before her majesty, went up to the Marchioness of Stafford, and in a coarse, unmannerly way, said, Ou est t'on mari? Where's your husband? The Marchioness treated him with contempt, but not with so much as he deserved, or as her ladyship would probably have shewn, had she not been in presence of the Queen, He addressed the royal dukes in a similar style, and it was feared that he would have accosted her majesty with the same rude familiarity. This gentleman was, we understand, a trooper.-He should be sent trooping out of society, until he learns better manners, and a more respectful behaviour. On the Tuesday, Madame Catalani again appeared in Argenis, in the serious opera of Il Ritorno di Serse. The house was crowded, and her first air encored. The whole of her acting in this character is very fine, but especially the scene in the second act, where she becomes deranged. The singing and acting combined in the first act, after she is by Xerxes discovered with his son, are admirable. It is droll, however, to observe the little command of countenance which she possesses when she sings-let it be about love, or murder, it is always with a smile, which is certainly more pretty than appropriate. As we have mentioned propriety, we must observe that Madame Presle's pirouettes in dancing make gradually such a display of charms, that the feelings of ladies in the pit are at last frequently alarmed to an involuntary scream. EXHIBITION, BROOK-STREET. THE amateurs of historical painting have recently been most agreeably surprised by the exhibition of a specimen of the British school, which, while it claims the consideration of the connoisseur, very powerfully attracts the attention of the general observer. The subject of this interesting picture is taken from Shaw's Monody to the Memory of his Lady, at that point of time when the poet is represented as receiving the last request of the mother for the care of her infant daugh ter. Wilt thou? I know thou wilt-sad silence speaks assent; The pathetic feeling of this address, (doubtless familiar to our readers) is transferred to the canvass with a tenderness and expression truly admirable; nor are the requisites of composition, drawing, colouring, and effect, deficient in giving the most decided support to the principal object of the artist: but what chiefly excites the astonishment of the beholder, is the address with which he has contrived to rivet the attention, and that with a feeling of delight and satisfaction, to a pictured scene, which has hitherto been thought too trying for contemplation. This valuable painting is announced as the production of Mr. Westall, of the Royal Academy. ORATORIO. The Dettingen Te Deum, with Mrs. Dickons' Holy, holy Lord; the Messiah, with Mozart's additional accompaniments, and L'Allegro and Il Penseroso, with Miss Morell's astonishing execution of Steibelt's concerto of the Storm, have, with other miscellaneous selections, exhibited the taste of Mr. Ashley in catering for the gratification of the public, while his excellence, as the leader of a full and able band, has most successfully contributed to put into execution what he had so well planned for their amusement. Crowded houses bear witness to the great merit exerted on these occasions. Madame Dussek, without extensive powers, sings with a vast deal of delicacy and effect. Mrs. Dickons, in “ Mad Bess,” was exceedingly fine. We do persist in our as sertion that Mr. Braham, with all his ability, cannot sing Handel's music. There is a thickness in his utterance, a huskiness of tone, which, unless relieved by infinite divisions, is intolerable. His voice is like a carp, which, without the high claret-sauce, is of little worth. This may tickle the appetite of the ear, but Handel's music was not intended to tickle the sense, but to dwell upon the soul, and fill it with divine emotions. On Friday, 27th Feb. he sung Sir George Dallas's Battle of Maida, set by Rauzzini. Here he was at home, and gave us all his mazy runnings with his usual skill. The music is full of science in its happiest mood; and the words, by Sir George, are replete with nonsense in its most forlorn style. Purcel's "Come if you dare,” by Mr. Braham, was very poor. Even Mr. Harrison, at the HanoverSquare rooms, sings it with more clearness and pleasing effect. Mr. Bellamy's powers are valuable. Mrs, Dickons being ill on Wednesday, the 11th, Signora Storace took her part in the Messiah, and made a very tolerable double. The new song, "England's King and England's Glory," composed by Mr. J. Ashley, of Bath, and sung by Mr. Bra ham, is a grand composition. ROYALTY THEATRE, WELCLOSE-SQUARE, Mr. Astley, Junr, has not been idle in his winter quarters. He has been deservedly successful in his evolutions at the Royalty, and is prepared, with his experienced troops, under his own skilful command, to cross the Bridge at Westminster, and commence his summer campaign on the identical field made famous by his former achievements. PROVINCIAL DRAMA, &c. Theatre Royal DUBLIN, 15th March, 1807.—That the theatre royal in the metropolis of Ireland should come under this head, that a splendid city, which but a few years back could add to the high distinction of vice-regal government the glorious privilege and natural right of assembling her sons in senatorial discussion of her local interests and advantages; that this emporium of the Western Isle should be coupled with the lowest clod-hopping village in Great Britain, has, I assure you, often aroused the indignant feelings of my countrymen—but cool," and shall proceed to give you a brief account of the theatre in the province of Dublin, "I am Miss Owenson's operatic farce, under the modest title of “ The First Attempt," demands my attention. We have seen this Wild Irish Girl figuring in romance, but this is, it appears, the first attempt of a novice in dramatic poetry, and as such, as the production of our country, and of a woman, our national characteristic must have suffered, had it been received otherwise than with the most cherishing applause. The plot has little or no originality, but is certainly interesting. Orlando and Alonzo, two young students, have, in consequence of a duel, retired to the mountain of the Sierra Morrena in Spain, and taken their habitation in the hut of the fisherman Benadetto, near the castle of an old grandee, the Marquis de la Cisteranus, who some years before took under his protection a young damsel of the name of Elvira, found after shipwreck among the rocks. She grows in beauty, and in favour with him, and he resolves to marry her, but mighty prudently determines first to give her "a little learning." His own daughter, Nicholette, (I can't tell why) has been turned out of doors, and resides with the fisherman. Alonzo suspects, and ultimately finds Elvira to be his long lost sister; and by the tattling of Pedro, an old servant to the Marquis, the young gentlemen learn that two professors are hourly expected to instruct Elvira. Orlando and O'Driscol, (his facetious Irish servant) disguised as collegians, are introduced at the castle, where, after much bustle, they are detected and turned out in disgrace. The fisherman has been in the habit of storing his smuggled brandy in a deep cave, where he by accident discovers a trap-door, which opens into the mansion, where, when he first saw the light, he "took it for the ghost of an exciseman!" By means of this trap, the indefatigable Orlando enters, and after concealing himself in the characters of a SOPHA and of his mistress, he effects his escape with Elvira, and they are married. Alonzo is smitten by Nicholette, prefers his suit, and they are married, The Irishman, "last, not least in LOVE," whispers something |