The Sun.
London, England, 1853-03-15 00:00:00

In 1844 Madame Vestris and Mr. Mathews were still
among the principal performers of the Haymarket, not in
burlesque, but in comedy, although the holiday entertain-
ments of the house were written by Mr. Planche, generally
with great success. Several old pieces of the Congreve pe-
riod were revived about this time on account of the strength
of the comic company. Mr. Webster's offer of a premium
for a five-actcomedy, made in 1843, will long be remembered
as a curious incident in theatrical history, though its re-
sult in 1844—viz., the comedy of Quid pro Quo—proved a
failure. On the other hand, Used Up, likewise produced
at the Haymarket in 1844, became so universally popular
that the character of Sir Charles Coldstream, played by
Mr. Charles Mathews, has almost passed into a proverb.
A•revival of Taming of the Shrew in its complete form,
with an imitation of the early style of stage decoration,
was a unique experiment of this year, which also saw the
production of Mr. Bourcicault's Old Heads and Young
Hearts. This, too, was the epoch when a Don Cesar de
Bazars was to be found nearly at every theatre, the Hay-
market included.

An engagement of Miss Helen Faucit and Mr. Anderson,
who went through a series of their principal characters,
and the production of a five-act comedy by Mr. Jerrold,
entitled Time Works Wonders, were the chief Haymarket
events of 1845 ; and in the following year Miss Cushman,
who had previously made a most successful debut at the
Princess's, created a great sensation by her performance of
Romeo to her sister's Juliet. It was also in 1846 that Miss
Reynolds, who remained a principal comic actress at the
Haymarket till within a very short period, first made her
appearance. The Beggar on Horseback, by Mr. Sullivan,
was a clever though very peculiar comedy from an author
who has not burdened the stage with his productions.
Mr. Bourcicault's comedy of A School for Scheming, and
Mr. Marston's Heart and the World—the former a success,
the latter the reverse—were among the conspicuous produc-
tions of 1847 ; but more conspicuous was the Roused Lion,
which began that series of pieces in which Mr. Webster dis-
tinguished himself as a creator of leading parts. Previously
he had usually confined himself to stock characters, or the
creation of subordinate figures, such as Father Oliver in the
Housekeeper, and the Dutchman in the TVhite Horse of the
Peppers, but now he stepped forward with new prominence.
A numerous list of characters might be made to show how
often he shone in this conspicuous position.
The year 1848 was very important in modern theatrical
history. Mr. and Mrs. Charles Kean recently returned
from America, and with Mr. and Mrs. Keeley formed that
strong combination of talent at the Haymarket which
afterwards led to the establishment of the Princess's
Theatre on a new footing. The Wife's Secret obtained a
success almost unprecedented, and it is worth remarking
that, of the six or seven pieces of importance which have
obtained a permanent place in the repertoire, from the
Lady of Lyons inclusive, three—namely, the Love Chase,
Money, and the Wife's Secret, were produced at the Hay-
market.

In 1849 began Mr. Macready's series of farewell per-
formances, which, interrupted by intervals, extended over
a considerable period. In the autumn of 1850 Mr. Kean
opened the Princess's Theatre, and when Mr. Macready had
finally retired the Haymarket company began to assume
its present shape. Tragedy was no longer the order of the
day, save for the introduction of Mr. Barry Sullivan, who
has proved one of the most valuable additions to a com-
pany, likewise strengthened by the presence of Mrs. Stir-
ling and Mr. Leigh Murray.
As the objects become closer our arrangement may be
less defined. The most prominent works during a period
of rather more than four years have been, Mr. Barnett's
Serious Family, which, though an adaptation from the
French, is a stock English piece, Mr. Jerrold's Catspaw,
Miss Vandenhoff's Wontan's heart, Mr. Mark Lemon's
Mind your own Business, Messrs. Taylor and Reade's
Masks and Faces, and Sir E. B. Lytton's Not so Bad'as we
Seem, which brings us down to the present day.
In' the above recapitulation we have omitted all reference
to those pieces which belong to the lighter class of enter-
tainment, but which, nevertheless, have always flourished
at the Haymarket. Our object has been, not to give a
complete or even an abridged chronicle, but merely to fur-
nish a series of steppingstones for the memory, that the
London playgoer may be facilitated in estimating Mr.
Webster's exertions in the cause of the drama.

MR. WOODIA'S CARPET BAG AND SKETCH
BOOK.

This talented gentleman has, after a successful season at
the Lowther-arcade, removed the arena of his performance
to the " Salle," to which Robin has given his name. We
have already had occasion to notice in terms of praise the
mimic powers and the amusing personations displayed in
this entertainment. Mr. Woodin has followed the same
track as the late Mr. Charles Matthews, and has acquired
a reputation seldom attained by an unknown candidate for
public favour in so short a time; for before his appearance
at the Gallery, in the Lowther-arcade, his name, we be-
lieve, was quite unknown to the public. Mr. Woodin's
entertainment consists in the personation of various cha-
racters, among which he includes the principal actors of
the day, with a fidelity really curious. With the eyes
closed it would be difficult to imagine that we were not
actually listening to Buckstone, Compton, Harley, or
Wright. An imitation of Mr. Albert Smith, in which
that gentleman's personal appearance, manner, and voice
are hit off with wonderful fidelity, has an irresistibly comic
effect. No less remarkable is an imitation of Mr.
Henry Russell's style of singing, which, notwithstand-
ing Mr. Woodin's limited vocal power, is done in a manner
which delights the audience, the former tenant of the room
is also introduced, and we have before us M. Robin's
second self, appearance, manner, voice, are perfect, and
the celebrated " disappearance" trick is performed amid
tumult of applause. In displaying the conventional inci-
dents and humours of domestic life, Mr. Woodin possesses
considerable skill, and it is to be regretted that some of his
full length portraits are too much caricatured ; such is the
case with the Yankee gentleman, and Mr. Sandy Mac
Whittle. The rapidity with which the changes of dress,
and even of personal appearance is effected, is remarkable,
and few people after seeing it, would be willing at any time
to swear to Mr. Woodin's identity. Good, however, as
the entertainment is, we hope at some future period to see
Mr. Woodin shine to even greater advantage. To the
present entertainment, however, we cannot award any
very great praise. It is very much laboured, and the puns
are introduced with a rapidity almost painful. Mr. Woodin
to insure success, has no necessity to resort to desperate
dislocations of words and exaggerated caricatures. His
own wonderful mimetic powers are quite competent to
secure that end, and we hope to have to record his triumph
in a more ably written entertainment.

AT) PORTLAND
NATIONAL INSTITUTIO
GALLERY, REGENT-STREET.

This exhibition of oil paintings was on Saturday opened
for private inspection, and during the day was visited by a
numerous and fashionable company. The institution was
founded six years ago in consequence of the want of space
for exhibition at the Royal Academy, and we are glad to
have observed that the display of pictures has annually in-
creased in number and advanced in merit. The exhibition
of this year is certainly superior to that of last, although
there are fewer subject pictures. From the rapid view of
Saturday we are only able to notice a few of the pictures
which more particularly struck us. Among several land-
scapes by Mr. Hulme, all of considerable merit, a view of
cattle crossing a pool (No. 269), the joint produc-
tion of this artist and Mr. Willis, is the most
noticeable, the landscape and background are painted with
great vigour and depth, and the drawing and modelling of
the cattle is all that could be desired. In the same room
a picture by Mr. Glass, " Late for the Ferry" (239), possesses
considerable merit, the figures are skilfully grouped and
masterly drawn, while the effect of light and shade is cle-
verly managed. A foreign artist, Mr. Provis, contributes
some admirable little. pictures. " The Village Smithy "
(No. 276), is a masterpiece. " A View of Nottingham," by
Mr. Dawson (No. 220), is a gem of landscape painting.
Mr. E. Williams contributes a very fine picture, " The
Gipsy's Return" (No. 191). The figures and land-
scape are well and carefully painted, and a powerful
effect of light is produced. A view of " Flyn T cwm
Flynnon" (No. 171) by Mr. Perry, is a well painted
and effective picture. Immediately above this hangs a
pretty adaptation of the French proverb, " Ce n'est que le
premier pas qui route," by Mr. Pittar. Two nymphs are
represented on the brink of a river about to bathe ;
the figures are well drawn and modelled, and the
colouring is natural and life-like. Another painting by
the same artist, " Don Juan and Hayclee," shows,
artistic merit. A picture, entitled " Young Love n '
(No. 302), by Mr. Helmsley, is an excessively cleveren entitled
pretty little piece. Mr. Lauder exhibits a pictursekillt;i Ithde
" Hope" (No. 177), painted with great care. and
backgroun,d,,,halowteinvegr,e
Mr. Rolfe 's "Me
eting on littleß,tnk heafr dt
the
en
Thames its o. nN
(No.
fidelity. "An Incident in the Life of
294), shows several of the finny tribe pLainthteedewi(Nthe.gr2e3a),
room, is well composed and effectively in
by W. F. Wylard, one of the few subject-picturested;anind
the
of Illumination" (No. 33), by Mr. Deane.
same may be said of "A Monklnstructinpga,o,tAherrs in.ttphieeeAer!
merit,but its colouring
(No. 105), by W. Duffield,poss,ss
By
yellceexhedi,b,it(sNaec„leuve.r)
is, perhaps, rather too gaudy.
landscape, " The Village of
in this works of merit occasion our notice of other
Pressure on our space compels us to defer to a future
erells jn
that lover of the fine arts may spend an hour
remarking a
exhibi-
tion, and we shall therefore conclude the present one by
or two very agreeably in the Portland Gallery.

of Viola. In this year, too, Mr. Macready terminated his
management of Covent-garden, and again accepted an en-
gagement at the Haymarket, during which Sir E. B. Lyt-
ton's Sea Captain was produced. Single Life, a three act
comedy of the old Haymarket school, written by Mr.
Buckstone as a pendant to his Married Life, was an impor-
tant production of this year, cast as it was with a strength
which it would now-a-days be difficult to concentrate. Mr.
Macready's connexion with the Haymarket extended
through the year 1840, in which Mr. Sergeant Talfourd's
Glencoe and Sir E. L. Bulwer's Money were brought out.
The latter of these two pieces is another of those very few
works which we have to set down when we enumerate the
permanent productions of the modern stage. In 1841 Mr.
C. Kean, having returned from America, re-appeared at
the Haymarket, where he acted with Miss E. Tree, but
otherwise the season was not remarkable for important no-
velty. During another engagement of Mr. Macready the
tragedy of Nina Sforza was brought out, and formed one
of the many transient successes of our stage. Mr. Placide,
celebrated in America as an actor of " old men," appeared
as Sir Peter Teazle, but his stay here was very limited.
At the end of the year 1841 the prospects of the higher
drama were more brilliant than they had been for mar
years. The chill created by Mr. Macready's resignation
the management of Covent-garden in 1839 had been in a
great measure removed by Madame Vestris, who opened it
in the winter of the same year, and at Christmas, 1841,
Drury-lane was opened by Mr. Macready. The two "large
houses" were thus at their culminating point of splendour,
and sanguine were the hopes of dramatic aspirants.
However, in 1842 Madame Vestris's management of
Covent-garden came to its close, and her appearance at the
Haymarket with Mr. Charles Mathews, after a short en-
gagement at Drury-lane, gave somewhat a new aspect to
the theatre. The fairy spectacle, which she had raised to
such perfection both at the Olympic and Covent-garden,
was transplanted to the Haymarket, and held a position
there which has been continued to the present day. The
Rose of Arragon of Mr. Knowles, the Alma Mater of Mr.
Bourcicault, the brilliant success of whose London Assu-
rance was still a town-talk, and Mr. Robert Bell's Marriage,
were among the productions of this year. In the year fol-
lowing the company received an addition of some impor-
tance in the person of Miss Julia Bennett, who for several
years was an agreeable actress in comedy, farce, and bur-
lesque. The prospect of a revival of the legitimate, drama
at a " large house" was completely cut off by Mr. Mac-
ready's resignation of Drury-lane in the course of 1843,
and thus ended the hopes which marked the commencemen'
of 1842.