The Express.
London, England, 1853-09-20 00:00:00

THE CITY STATUE OF ROBERT PEEL.

The following communication has been received in
answer to an application from the committee upon the
" Ptel Testimonial," to he placed opposite to the Hank:
" Tho Statue Foundry, Pimlico, Sent. 17, lal3.
" Sir,—ln answer to your inquiry respecting the bronze
statue of the late Sir Robert Peel, by Babies, for the Coy,
which we have in the course of execution in our Liundry,
we beg to say that it is in a very advanced state, and that
every exertion on our part shall be used to hasten its com-
pletion consistent with safety and the proper execution cr
so. mportant a work. It will bo finished in about two
months, when we skein have the honour of inviting pelmet
and the committee to inspect the work at our eztablish-
m "
Toehrm,
nt e t :yn. s
e i honour,.
rotioffo.bjs:
sair, yaonuar very yr obedientrAm .
sertantr,

DRAMA.

DRL•RY•LANE.

A new five-act play was produced here last night,
under the title of I/ic Betrothal. It is from the pen at
Mr. George H. Baker, an American author (we believe),
whose previous drama of Calaynos met with some degree
of success a few years since. The plot of The Betrothal is
bat of slender structure ; nor aro the incidents remarkable
for either novelty, interest, or probability. The Marquis di
Tiburzzi (Mr. Evans) is a decayed nobleman, whose
daughter, Costanzi (Miss Anderton), resolves to restore his
fallen fortunes by marrying Marsio, a wealthy and elderly
plebeian (Mr. G. V. Brooke). The contract of betrothal
is no sooner made than Costa.zi accidentally meets Count
Juranio (Mr. Belton), who had previously, as a stranger,
won her admiration by some gallant feat performed in her
presence. Of course a mutual passion is awakened, sup-
pressed en the part of Costanzi by her resolve to fulfil her
betrothal vow. An avowal of her love, however, is over-
heard by Juranio, who upbraids her for her apparent pre-
ference of Mania on account of his wealth. Rumours of
the meeting of Juranio and Costanzi reach the eats of
Marais, who upbraids his betrothed and threatens her with
the ruin of her father, whose debts he has bought up in
order to hold him in his power. Cortanai again
meets her lover in order to bid lim a final adieu,
when she explains the nature of the sacrifice which
she is making. This interview is watched by Marsio,whose
thirst for vengeance against Juranio is increased. Juranio,
however, has a friend and kinsman, one Salvatore (Mr.
Davenport) a light-hearted bold-fronted cavalier, with an
attachment for Costanzi'd cousin and confidante, Filippia
(Miss Featherstone). This Salvatore gets up a counter-
plot against Marsio by enlisting in his interest the services
of Pulti (Mr. A. Younge), the ill-used servant of Mania.
In the fourth act there is much foreshadowing of cone
subtle plot, some shrewd trap by which Marais is to
wreak his vengeance on Juranio and his friend
Salvatore, who are invited to attend the wedding
feast of the wealthy and exultant merchant. We
are, however, soon let into the heart of the
mystery by an interview between Marsio and his servant;
and here occurs an incident, which is certainly original
from its absurd improbability. Marsio, who has invariably
ill-treated his servant, and knows that his retainer has none
bat ill-feeling for bim, actually gives to this unlikely in-
strument a small phial of poison to pour into the
goblets of hie two hated guests at the bridal feast!
Of course the worthy retainer feigns assent, and
communicates the design to Salvatore. We are now
introduced to the banquet. Mario pledges his guests,
himself draining the goblet to the dregs, and watching
for the expected death-throes of his supposed victims. He
60(111 finds out, however (what none bat an idiot could have
doubted) that he is himself the victim of misplaced con-
fidence, and has swallowed the draught intended for ethers.
Here we have a most elaborate scene of death agony,
wrought up, it must be admitted, with very great power,
but much too literal in the details of physical suffering.
Maraio falls, cursing his rival sad denouncing Salvatore as
his murderer. This charge, however, is rebutted
by Salvatore, who explains the intended assassina-
tion of himself and friend, and his substitution
for the poison, of a powerful narcotic, which was
administered to the intended poisoner. Of course matters
are now all set right, and everything ends pleasantly. The
dialogue is generally smoothly written, never rising to the
poetic level, and too frequently disfigured by the commonest
colloquialisms. The play moves heavily, especially during
the first three acts; arid there is throughout but little to
arouse any powerful interest in an audience. The structure
is inartistic in the extreme—witness the absurd combat in
the second act between Martha and his friend, induced, as it
appeared, by the former having addressed the latter
a, Master Rego. The thing was so utterly gratuitous,
so apropos do rien, that it had positively the
air of pantomime. Then the monstrosity of the catastrophe
—the most harrowing details of a fearful and violent
death, which we are told, after all, is no death at all, only
a little stomachic pain from a strong dose of something or
other very powerful, but not at all dangerous. The play
was certainly received at its close with considerable demon-
strations of applause, but it is very questionable whether
inch incidents and structure, aided even by better writing,
could possess any vitality. Mr. Brooke did the utmost with
the part of Mania. There was but little scope for the display
of his powers, the chief points bele.: his outburst of
scornful wrath and fierce invective at the offer of Salvatore
to purchase the release of Costanzi, and his really terrible
delineation of death agony, the effect of which, however,
is immediately destroyed by the discovery that he is not
dead, but only a little poorly. Mr. Brooke will certainly
net add to his well-deserved English reputation by essaying
such parts as that of Marsio. Mr. Davenport was graceful
and vivacious as the impetuous Salvatore ; indeed, this
gentleman divided with Mr. Brooke the honours of the
evening. Miss Anderton as Costanzi was tender and pa-
thetic, but her voice will not bear the effort of strong pas-
sion; she is, however, a sensible and intelligent actres,.
Miss Featherstone. looked well and played arch!) as Filippia ;
and Mr. A. Younge as the servant Pulti was to the full as
humorous as the part would allow. The house was well
attended, and the principal performers were called for at
the conclusion of the play.

THE BIRMINGHAM BOROUGH GAOL.—.Arir'S Bir•
mingham Gazette of yesterday says:—" We understand
that Mr. J. Blount, the surgeon of the Borough Gaol, los
resigned his appointment. Freer, the chief warder, has
been dismissed by the justices; and Cotterill, jun., o,e I't
the warders, whose name has been frequently mentioned
during the recent inquiry, died yesterday se'onight, after a
short illness. An advertisement for a new governor and
chief warder appears in our publication of this day.
DEMERARA RAlLWAL—Traffic for the fortnight
I ending Aug. la, 1863, 5671. Ils. Id.

I.