The Express.
London, England, 1853-06-21 00:00:00

IRELAND.

Deamyr, Jr is 20.
A copious fall of rain, which commenced during
the night and still continues unabated, will be vred
cotueti ith grafi:de by the agriculturists. It en-
hances materially the already cheering prospects of
the harvest.
Yesbrday, in the several Romnn catholic chapel., a
long document purporting to be the address of the late
provincial synod held by Archbishop Cullen and his
suffragans, to the Roman catholics of Leinater, was
read to the people. The " decrees" of the Synod,
whatever they may be, will not be published until
they have been submitted for the approbation of
Rome; but, judging from the address, it would ap-
pear that the whole affair had for its principal object
the subject of education, and that the synod was, in
fact, a sort of preliminary step to the opening of the
long-talked-of Roman catholic university. The
address stated that the funds collected
for the purpose, not only is Ireland, but
in England and America, had now reached
such an amount that the institution might soon be
set in active operation. The address also alluded to
some of the books used in the schools under the Na-
tional Board, and cautioned Roman catholics against
allowing their children to use the book of " Scrip-
ture Lessons" or Dr. Whateley's " Evidences of
Christianity," neither of which works, it was ob-
served, were insisted upon as indispensable by the
commissioners. A book of scripture lessons would, it
was added, be prepared by the Roman catholic pre-
lates for the children of their flock. A more watchful
care both of advanced and of primary education,
especially as regards religious principle, was, in a
word, the great point insisted on throughout the
address as tar as that voluminous document was yes-
terday promulgated.

DRAMA.

ADELPHI,

The legitimate drama,tntrTsPlanted here from the
Haymarket by Mr. Webster, hae of late almost superseded
that class of piens fur which the Adelphi has so long been
specially renowned. That the old spirit of the place, how
ever, is not quite extinct, was proved last night by the pro-
duction of a new melodrama, " with real Adelphi effects"
(to quote the play bills), under the title of Genevieve; or,
Me Reign of Terror. The piece is in four act,, and the
plot, without being of elaborate construction, is yet suffi-
ciently stirring to maintain the interest unflagging to the
clue. Genevieve, the heroine of the drama, is the
daughter of an aristocratic house, who, flying with
her father—a proscribed nobleman—is recognised, and
in danger of becoming • victim to the reign of terror.
To save herself and parent, she consents to immediate mar-
riage with one Dizmer (Mr. A. Wigan), to whom they
were formerly known, and who (being in love with Gene-
vieve) secures their safety on this condition. The com-
mencement of the first act flails Genevieve, her husband,
and her brother, the Chevalier do St. Georges (Mr. Per-
nik), at Paris, engaged in a conspiracy for the liberation
of the Queen from prison, where she lies awaiting execu-
tion. Genevieve is encountered by a band of ruffianly
saw-culottes, from whom she is rescued by Maurice Linday,
a lieutenant of National Guards (Mr. Leigh Murray),
aided by Lorin (Mr. Webster), •
.sergeant of the same
force. Maurice seeks in vain to penetrate the mystery
which surrounds the beauteous unknown, who exacts
his promise that he will not watch her departure,
and in answer to his passionate enquiries as to who be has
had the happiness of serving, she whispers " Genevieve,"
and disappears. Maurice Linday makes his way to the
house of Dimmer, and scaling the garden wall, is imme-
diately seized by the confederates, blindfolded, and on the
point of being sacrificed to their vengeance, when he breaks
from them, rushes into the pavilion (a section of which is
shown as well as the garden) and is saved from destruction
by Genevieve, who explains that she owes her life to hint,
for whom she intercedes. Dinner now suspects the exist-
ence of a passion between his wife and Maurice
Linday, well knowing that her marriage with him
was induced solely by anxiety to save her father. He
courses her to ranee • rendezvous with Maurice for the next
evening ; and the interview being watched, Linday's love
for Genevieve is ascertained by the vindictive husband.
The second act opens in the court of the Temple, with some
picturesque grouping and characteristic dances. Here we
find the consp re tors disguised as national guards, examining
the progress of the excavations by which they propose to un-
dermine a passage from Dizmer's house to the cell where
the Queen is confined, with whom it is necessary now to
communicate. A note, which Genevieve has been forced to
write, is inserted in a bouquet, which it is intended shall
reach the Queen by the hands of• flower-girl. The le tte r, how-
ever, is discovered and intercepted; and Lorin, who is oaths
watch, also gains a clue to the whole plans of the conspira-
ton. Maurice, who has been seen at the house of Gene-
vieve, the writer of the warning to the Queen, is now se
nosed of being memory to the plot ; but, Lorin, believing
his friend innocent, has procured passports to enable him
to quit France. Maurice, however, Insists on remaining to
keep his rendezvous with Genevieve. Blamer now finding
suspicion aroused, states his intention of flying, and leaves
his wife (Genevieve) to the care of her brother, the cheva-
lier, who tells her she must leave immediately. Maurice, who
has surrounded the house and approaches with armed men,
dile:even, through the windows of the pavilion, that Gene-
vieve is there with St. George, on whom he throws himself,
stating that he recognises him and must arrest him. St.
George vindicates Genevieve, and discovers the: he is her
brother. Here occurs a scene of considerable power, in
which Linda struggles long between his sense of honour
and duty and the pleadings of Genevieve for her brother's
life. Love, however, triumphs, and Maurice gives the
peas-word, " Robespierre and death," which alone would
enable the fugitive to pus the guards by whom the house
is surrounded. Not only the Chevalier, however,
but Genevieve also, is found to have escaped, leav-
ing the pavilion in dames. Again Maurice doubts ;the
faith of her be loves, and in the solitude of his chamber is
bewailing her lam, when she suddenly appears at his side.
He now urges her to fly with him to England; and, gain-
ing her consent, retires to make a hurried preparation for
departure, when Dizmer enters, reviles his wife for being
under the roof of a republican, and upbraids her with her
love for Maurice. The conscience-stricken Genevieve
admits her passion, and offers her life in atone-
ment a sacrifice which her husband accepts.
The plot is not yet abandoned, and it is de-
termined that Genevieve shall be introduced to the
Queen's cell, and, changing dresses, shall remain for exe-
cution while the liberated captive escapes. This plotting,
however, has bean overheard by the flower girl, who takes
her measures accordingly. We are next introduced again
to the courtyard of the gaol, and find the Chevalier dis-
guised as assistant gaoler. It is determined that the ten
tinele are to be stabbed, and Genevieve to dans her way to
the Queen's cell. The business, however, is but half ac-
complished when the alarm is given, a band of fierce nvo-
volutionists enters (the tocsin sounding), and Genevieve is
detected in her attempt to free the Queen. The fourth
act di.covers St. George arraigned before the revel's-
tionary tribunal, by whom of course he is condemned to
death, but anticipates the sentence by his own hand. Ge-
nevieve is then placed on her trial, her husband being
among the spectators in the court. All endeavour to make
her discover him are, however, fruitless, and she is taken
away for execution. Dizmer by threats obtains from
one of the gaolers two passes to enable him to visit the
condemned cell—one being intended to free his wife, for
whom he has still some remnant of feeling left. He
has, however, been tracked by Lorin to a solitary
arch under the bridge of Notre Dame—and here oc-
curs a scene of almost equal interest with the well-
known duel in the Corsi, an Brothers. Lorin coolly
taunts Dizmer with cowardice and the cruel sacrifice
of his wife, and avows his intention to kill hint. With re-
luctance Dinner is forced to fight ; and, after some admi-
rably sustained fencing, is at last slain by Lorin, who pos-
sesses himself of the passes and proceeds to liberate Gene-
vieve. Just, however, as they are on the point of quitting
the prison, Maurice enters, determined to share her tate.
Lorin has passes for only two, and there are now three to
be saved—he therefore generously resolves to sacrifice himself
and save the lovers, whom he deceives by promising to fol-
low. They escape, but can their way they hear that Lorin
has been led out for execution. Maurice rushes back to
rescue his friend, when Genevieve is once more taken, and
both are on their way to the guillotine, when an ,:mettle
occurs with the populace; Maurice enters at the head of
his national guards, the reign of terror is proclaimed at an
end, and all ends as it should do.
The drama, which embraces all the strength of the com-
pany, was of course acted to perfection. Mr. Webster, as
the noble-hearted, generous Lorin; Mr. Wigan, as
the subtle vindictive Dinner ; end Mr. Leigh
Murray, as the impetuous, ardent Maurice, were
all that might be expected from such artists—while
Mdlle. Celeste, as the sorrowing, heart-broken Genevieve,
gave all possible pathos to the part. The comic business
chiefly devolved on Mr. Keeley, who, as a baker turned
drummer, was as stolid and droll as ever. His candid
cowardice, and his unfeigned preference of his own
safety over his country's glory were very amusing. Nor
less so were his few occasional taps on his instru-
ment, by which he now expressed disgust, now
astonishment, &c. Mrs. Keeley also, as the flower-
girl, was, as Mrs. Keeley always is, full of boisterou geni-
ality sod roguish humour. The small part of Simon, she
gaoler, was admirably dressed and looked by Mr. 0. Smith,
who seems late)) to have given up playing the ruffian. We
are glad to find him resuming his old ways; for in his hands
villainy, although it ci rtainly due not become attractive,
is made exceedingly picturesque. Mr. Paul Bedford also b.. a part which, in one sense, may be called small, but
which, in his person, becomes (physically) gigantic. He
plays the gaoler • wife, and, as may be supposed, repre-
sents not the mast gentle specimen at the sex. Thee drains
was throughout intended with much apPlasee, which was
increased at its termination. It was announced for repeti-
tion every night until further notice by Mr. Webster, who
stated that it was adapted by car. Bourcicault ;rem the
French of Alva. Deana