The Press.
London, England, 1858-10-16 00:00:00

THE PRESS, OCTOBER 16, 1858.

acceptance of Hans Grimm the fatal vial as a revivi.
fyiug potion in the hour of need. So ends the
second act. In act iii. the artist's pencil serves to
heighten dramatic effects, and the result is we are
introduced to " a chamber of horrors" rarely por-
trayed on any stage. Some good citizen of Frankfort
had in bygone days found free scope for posthumous
charity in founding, not an hospital for the cure of
the sick, or a mausoleum for their interment when
dead, but a kind of resting-place between the death.
bed and the grave. The testator had taken into his
head that it was just possible that a man might be
buried alive ; and he accordingly willed that every
citizen of Frankfort should, on his passage to the
sepulchre, lie for a stated period in one of the cells
of this dismal hall, in order that he might, in such
a conjectural event, recover from a trance. Over
each cell there was an alarum clock with a dial and
a hammer, attached by a cord to the wrist of each
inanimate body in its strang e receptacle. Hero
Hans Grimm, who had, by means of a paper which
he had discovered in the chest, become impressed
with the idea that when the effects of the antidote
had passed away his master would return to life,
kept watch and ward. Here, too, was the Widow
Bergmann, drawn to the spot by uncontrollable
desire, and locked in a prisoner with the maniac.
Terrible indeed was the scene at first, but it became
absolutely repulsive to a refined audience when
the clock struck and Isaac Rodenberg clad in
the vestments Of death emerges from the cell. Pre-
pared as they were for such a denouement it still came
upon the audience with an unmistakeable shock, and
not less unmistakeable was the expression of dis-
approbation which succeeded the first moment of
breathless surprise. Justice, however, still claimed
its victim, and when Hans Grimm administered to the
fainting woman the fatal draught which she had
bestowed upon him, as an elixir, and she passed into
the cell from which her intended viotim had
just escaped, the sacrifice was completed.
Replete as it is with fine passages, this drama is
founded on a plot which could not render it
successful even with the careful treatment
which has evidently been bestowed upon it by
the author. The dramatic effects have been strongly
worked out, and in aiming at striking situations Mr.
Wilkie Collins has shot beyond the mark. A kindly
feeling of indulgence towards the author, and a just
appreciation of Mr. Robson's talents as an actor, the
audience came prepared to evince ; but it was to Mrs.
Stirling's admirable delineation of the character of
the Widow Bergmann is attributable the fact that
The Red Vial did not receive a much less equivocal
condemnation on the first night of its representa-
tion. All the other parts, which were meroly subor-
dinate, were well tilled, and the piece was carefully
put on the stage. The new scenery, which was beauti-
fully painted, was by Mr. J. Gray and Mr. Craven.
THE HAYMARKET.—Mr. Charles Mathews made his
first appearance, after his return from America, in
this theatre on Monday, and was received with an
enthusiastic welcome, which was the best proof of his
enduring popularity. The house was crowded in
every part, and numbers who had not secured seats
were unable to obtain admission. Mr. Charles
Mathews appeared in his original character, as
Dazzle, in London Assurance, and Mrs. Charles
Mathews made her debut before a British public as
Lady Gay Spanker. The lady is prepossessing in
appearance, and played the part with sprightliness,
but another role will afford a better opportunity of
forming a just estimate of her histrionic powers.

THE STRAND.—The Maid and the Magpie, or the
Fatal Spoon, is the title of a capital burlesque from
the pen of Mr. Byron, produced at this theatre for
the first time on Monday. It is founded on the
opera of La Mazza Ladra, and abounds in sparkling
humour and palpable hits on some of the passing
events of the day. Miss Marie Wilton acted the part
of Pippo with considerable) spirit, Miss Oliver was as
usual pleasing as Ninette, Miss M. Ternan was an
admirable Gianetto, Mr. Bland was an able repre-
sentative of Fernando, and Mr. Clarke was particu-
larly racy as the Jew Pedlar. The piece, which was
put on the stage with great care, was decidedly suc-
cessful, and the curtain fell amidst the loud plaudits
of the audience. In obedience to the general wish,
the author came on the stage and bowed his acknow-
ledgments.
- -

ASTLEY'S, completely redecorated, reopened for
the season on the same evening with a grand
equestrian melodrama, called The Covenanters, or
the Battle of Bothwell Brig, founded on Sir Walter
Scott's beautiful tale "Old Mortality." The piece
abounds in striking passages, amongst which are
the famous battle, from which the melodrama derives
its second title, and the terrible leap of Morton
across the raging torrent. Both bipeds and quad-
rupeds played their part to perfection, and with the
aid of new scenery and dresses the piece was as
successful as both author and manager could have
wished. The scenes in the circle, in which several
new candidates for popular favour arpeared for the
first time, were as exciting as usual. Amongst them
were Mme. Blanche, a very graceful rider with a

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perfect command over her steed, and an equilibrist
who delights in the poetic soubriquet of the " Crystal
Sprite."

THE AJDELPHI progresses so slowly in rebuilding
that it is probable the doors will not be opered be-
fore Boxing night. The new theatre will be much
larger than the old one, holding double the number
of spec►etors, and from the plans it appears light,
airy, and commodious.
THE PRINCESS'S will, on the termination of Mr.
Charles Kean's farewell season, come under the
management of Mr. Augustus Harris, the stage
director of the Covent•garden Opera.—Mß. ALFRED
WIGAN has so far recovered from his late indisposi-
tion that he will shortly appear at several leading
provincial theatres, accompanied by Mrs. Wigan.