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mirthful Caroline finds a deserving suitor in the brave and honest M'Lary. Several other characters (i) are engaged in the action.

Mr. Kenny is the successful author of several dramatic pieces. His excellent farce, called Raising the Wind, which, free from the mummery that has of late infected this species of entertainment, succeeded so admirably on its genuine merits, probably induced him also to attempt to reform the comic opera of our day, and, for this purpose, to produce False Alarms, or my Cousin, a piece void of all those meretricious aids of machinery, drums, trumpets, and foppery, which have so disgraced the English stage, common sense, and good taste. "Now then," says Puff," for my magnificence!-my battle!-my noise !-and my procession!"-Now then, says Mr. Kenny, to discard all this trumpery, and to compel the town to be not only content, but delighted with good dramatic music, finely executed, accompanied by wit, humour, incident, and situation; in fine, with something like a legitimate English opera. Such is the sort of production with which Mr. K. has obliged the town; and that the public do but sleep, and are not dead to what rational creatures ought to applaud, is amply proved by the event. Le plaisir du comique, says Rousseau, est fondé sur un vice du cœur. If so, we have rarely seen an audience so vicious, since, measuring their vice by the quantity of pleasure, which they exhibited at the comic scenes of this opera, they certainly abound in human frailty. This is the triumph of sense and sound, highly deserving of praise, and strenuously to be recommended to imitation.

The performers were all perfect in their respective parts, and gave the best effect to the numerous excellencies of the piece. Mrs. Mountain, in the character of Lady Gayland, displayed some delightful acting, and sung the air "A swain to his love went a wooing," composed by King, with infinite sweetness. Mr. Wroughton did great justice to his part. In Caroline Sedley, Miss Duncan played, looked, and sung admirably. We never saw her to so much advantage as in her military dress. "The north breeze blew keenly," a song by King, she executed with exquisite taste and delicacy. The little that fell to the lot of Mr. Johnstone and Miss Pope, was done in the best style of these great artists. Mr. Wewitzer was exceedingly droll in the German, and Mr. Bannsiter's Tom Surfeit was full of life and spirit. His song, in the second act, by King, in which he describes a major about to cut his throat for love, but who thinks better of it, and cuts his corns, was a song, from top to toe, to the fancy of the galleries, and loudly encored by them. Mathews' Plod, and Storace's Susan, the one an ignorant potatoe-merchant, and the other the pert wife of the German, were productive of much comic effect. In such a feast as this, Mr. Braham


(i) Gabriel, Mf. Penley; Grinvelt, Mr. Wewitzer; Bumper, Mr. Dignum; Miss Embrage, Miss Pope; and Susan, Mad. Storace.

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was of course the richest and most important dish. His compositions were all marked with great approbation. It is our opinion, however, that though his taste and science still do and will continue to meet with applause, we have tasted the choicest sweets, and heard all the novelty of his genius, in the Cabinet. His first song, "Should e'er I brave the foaming seas," and " Said a smile to a tear," accompanied by himself on the piano-forte, were rapturously encored. Such was also deservedly the fate of two charming duets, " Time steals our joys," by Miss Duncan and Mrs. Bland, and " Hail sweet Hymen to thy joys," by Mr. Braham and Madame Storace. The latter of these was composed by Mr. B. the former by Mr. King, whose other pieces, as well as the overture, do him great credit. The general character of the music is lightness and gaiety. The poetry is of a superior stamp. The vile and degrading office to which the Cobbs, the Cherries, and other of our dramatic poets have submitted, when they have written words to any meIody, that the composer might find in his port-folio, ready cut and dry, Mr. Kenny seems, with a proper respect for his own consequence, to have avoided altogether. We suspect this, from the style of the songs, which are pleasing to read as well as to hear, and frequently distinguished by much of the vivida vis of a poetical genius. We expect that the author of this opera, so stored with other desirable qualities, and passing rich in good comedy, will receive the warmest encouragement both from the gratitude of the public and the managers :-from the first, for the pleasure he has afforded them; from the second, for the money he has brought to the treasury, without previously exhausting it on scene-painters, machinists, dress-makers, ovations, processions, ele phants, camels, and monkeys.



Jan. 1. The Birth Day.-Arbitration.-Harlequin and Mother


Jan. 2.

* Immediately after Christmas day, this house, as usual, presented the rising generation with a new pantomime, called Harlequin and Mother Goose, or the Golden Egg.

With respect to pantomime, this theatre is “native, and to the man ner born." Mother Goose, however, out-does almost all its former outdoings. This little fable of the nursery forms the leading interest of the exhibition, which, considered in all its qualities, its innumerable tricks and metamorphoses, its excellent scenery, and appropriate music, humour, and drollery, is admirable, and reflects infinite credit on the ingenuity and invention of Dibdin and Farley. Mother Goose is pleasantly personified by Mr. Simmonds. The goose, by a little child, is



Jan, 2. Tempest.†-Harlequin and Mother Goose, 3. Merry Wives of Windsor,-Id.

5. Wheel of Fortune.-Id.

6. Deserts of Arabia.-Arbitration.-Id,

7. Tempest.-Harlequin and Mother Goose,

8. Every Man in his Humour.‡-Id.

9. As you like it.-Id.

10. Tempest.-Id.

12. The Revenge.§-Id.

13. The Birth Day.-Arbitration.—Id,

14. The Tempest.-Harlequin and Mother Goose, 15. The Provok'd Husband.-Id.

16. Tempest.-Id.

17. A Cure for the Heart Ache,-Id.

19. The Revenge.-Id,

20. Much ado about Nothing.-Id,

Jan. 21.

very cleverly managed. If it is a boy, the recollection hereafter of his having figured away in this respectable character, may put a very annoying battery into the hands of some unlucky wit. Harlequin and Columbine, by Mr. Bologna, junr, and Miss Searle, are full of ease and spirit: but of all the whimsical beings that, by their contortions and vagaries in pantomime, set the young, ay, and old folks too, in a roar, the clown of Grimaldi is the most surprising, diverting, and effective. We can in no way describe what he does, nor give any idea of the inimitable style in which he keeps up the ball from the beginning to the end. He must be seen. This piece will, in a measure, verify the fiction on which it is founded, and the goose prove indeed a breeder of gold to the theatre.

A Master Smalley, whose natural powers of voice Mr. Harris accidentally heard, and thought deserving of scientific improvement, made his debût in this pantomime, in the part of a cabin boy, with a song. His tones are good, but his ear seems defective, for he sung very much out of tune.

+ The revival of this play has amply remunerated the proprietors, and gratified the town. At a future revival, the characters of Dorinda and Hippolyto it will, probably, be thought due to the fame of Shakspeare to omit.

Cooke's Kitely, in this delightful comedy, was this evening a performance of which we may say on ne peut pas mieux. It was, if possible, more energetic and rich than ever.

§ Kemble's Zanga is unquestionably one of the fine pieces of acting of this great performer. It is scarcely possible to embody in a


Jan. 21. Tempest.-Harlequin and Mother Goose.

22. Man of the World.-Id.

23. Tempest.-Id.

24. The School of Reform.-Id.

** Morton's comedy will shortly appear: it is well spoken of, Allingham's farce, from the French, has been read. A farce called "Whistle for it," is to be transplanted from the Priory, the seat of the Marquis of Abercorn. An opera is expected from Cherry; and, should it be necessary, "the greatest is behind," in Colman, who has nearly finished a comedy.

more masterly manner the conceptions of the poet, or to interest the feelings of an audience to a greater degree than Kemble does in this part. To enter into the merits of the performance would merely be to repeat the sentiments of approbation, which we have long since expressed. For one or two nights every year he indulges the town with this dramatic treat, and we take a pleasure in annually recording the exhibition of his grand picture of the revengeful Moor. Here we had to regret the absence of Mrs. Litchfield in Leonora, as we also had on the 18th of December, when Mr. Pope resumed the character of Othello, in the tragedy of that name, and played it with his usual excellence. The force and discrimination, which Mrs. Litchfield imparts to Emelia, were wholly wanting. Mrs. St. Ledger was a miserably inadequate substitute. Miss Smith's Desdemona was a very chaste per



THE surprising talents of Madame Catalani were increasing in favour with the town, having been the more admired the more they were enjoyed, when a cold prevented her attending the theatre on Saturday the 10th, to the great disappointment of an innumerable crowd of company. A comic opera was substituted, in which Signora Perini improved the misfortune of the night, by walking through the part, without being able to sing, through hoarseness. On the Tuesday following no opera was performed, the indisposition of both singers still continuing. Many were the reports industriously spread abroad, by envy and detraction, with respect to Madame Catalani. Amongst others, that her husband had been private secretary to Buonaparte, when he was first consul, that, having been discovered to be a spy, he was ordered to quit the country, and that this admirable performer would sing no more, as she was obliged to depart with him.

Mr. Kelly, with commendable zeal, took the earliest opportunity to deny, officially, the whole of this infamous fabrication. Madame Catalani still indisposed, the Principe di Tarento was played on Satur

day the seventeenth. This opera is dull, and has nothing striking in its music. Signora Perini and Signor Siboni sing with ease and taste, but they want force the latter is particularly deficient in powers. Naldi is very great. Situated as we are with regard to operatic conscripts, when none can be obtained from the continent, we can never too much wonder how it happens that Morelli is neglected. We have seen this buffo give astonishing effect to a comic opera. The ballet of Tamerlane is as attractive as ever. The dancing of Mons. Deshayes is masterly. Parisot is always delightful, and if we could say grace was in all her steps, we should speak highly of Madame Presle.

Mr. Gould, the proprietor, who had recently married Miss Skedgall, a lady to whom he had long paid his addresses, is dead.

On the authority of a gentleman, who knew Madame Catalani at Lisbon, we can state that she there received annually 3000 moidores, £.4050, besides a benefit. Her salary here is £.2000.


WHAT WE foretold has happened with respect to this theatre. It is successful up to a bumper every night, and the spectators appear highly gratified with the variety of its entertainments. The Equestrian Exercises have never been surpassed, and the compiled pantomime, called Harlequin Plagiarist, is, considering the small sphere of action, a very fair harlequinade.


As it is our scheme to notice every thing, good or bad, in the shape of a public exhibition, the Sans Pareil naturally attracted our attention with some force. We are sorry to say, however, that its appellation is only applicable to it, owing to its very high state of imperfection. The first part is particularly abundant in demerits. Songs and stories by Miss Scott, (a Dibdin in petticoats) "the whole written, selected, composed, and spoken, sung, and accompanied" by her. The poor girl cannot help it, but her manner of performing her part is almost as unhappy as the matter of which it is fashioned. The phantasmagoric evolutions are a shade better, but, on the whole, it is not a proper combination to offer to the public for an evening's entertainment.


Theatre Royal DUBLIN.---Commencing with your New Series, permit me to offer a few unbiassed remarks on our theatrical corps, and, in the pride of independence, to give merit its due, and to temper just criticism with mercy. It is a lamentable fact that the critiques of our

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