The Sun.
London, England, 1849-12-27 00:00:00

THE SUN, LONDON, THURSDAY EVENING-1 DECEMBER 27, 1849

LITC_EUJI TUEArRE.

Few theatrical managers have done so reuch to
illustrate fairy legends, or adapt them to the wishes
(and feelings of the age, as Madame Vestris, and, per-
t haps, still fewer dramatic writers have drawn more
upon the mythology and nursery fictions fur their
subjects as Mr. Planche. Nutneroes, however, as
their triumphs have been in that respect, the mine
from whence they have gathered materials to concoct
so many extravaganzas would seem to he far from
exhausted, and we may yet hope to witness the pro-
duction of an amusing piece of this character when-
ever the occession cells for one. The wit of the
author of The Is!and of Jewels—the title of the
present attraction at the Lyceum—fails before the
lavish munificence of the manageress in placing it
upon the stage ; but, nevertheless, the verse contains
sufficient point and fancy to make it palatable, and
it certainly ought to yield as much gold to the
treasury of the theatre as it, undoubtedly, adds
another gem to the pearly wreath that already
encircles the brow of the accomplished manegerese.
The incidents of these entertainments, generally
speaking, bear so remarkable a similarity to
each other, that it is almost unnecessary
to do more than enumerate the characters that work
them out, but during a season of festivity it is not
inexcusable to occupy space with the details of a
story turning upon the cross purposes of a good and
evil spirit, and, though improbable end extravagant,
serving to inculcate a sound moral trutls. According
to Mr. Planche's edition of the Countess D'Aneis
(Serpentine Vert), the story is briefly this—if, indeed,
it be not much like that of the " Needy Keifegrinder”
—Gingerbread the Great, King of Pheritale (a
potentate whose corporeal representative is Mr.
Frank Matthews), and his Queen Tinsellina, with
that melancholy forgetfulness so common in all such
cases, in summoning the fairies to attend the birth or
christening of their twin daughters, Princess Bellotta
(Miss Kenworthy) and Princess Laidrometta (Miss
Julia St. George), forget that notoriously malevolent
eld fairy Magotine (Miss E. Bonner), who avenges
the slight in the ordinary course of nature by rushing
in at the festival and casting such glamour round Lei-
drometta as to make her appear odiously ugly to her pa-
rents, who very properly banish her from Court for such
a grievous offence to a lonely tower by the sea side.
Here, however, she is consoled by the fun and kind-
ness of her maid Fidelia (Madame Vestris), and by
the delicate attentions of a large specimen of the boa
constrictor species, which hisses vows of eternral
fidelity from all manner of impossible places. Princess
Bellotta is about to be married to Prince Prettiphello
(Miss I. Dickenson),:and Laidrometta having in vain
attempted to get an introduction to the ball, returns
to the seashore to deplore her fate. The transition
from the ball room of the royal pavilion, filled with a
glorious company of cavaliers arid ladies in sky blue
turned up with gold (in which, too, a tolerable at-
tempt was made to render the perspective complete
by introducing some very tiny children at the back
of the stage) to the lonely tower was very
well managed. A boat without any one in it
appears by the seaside; the Princess and Fidelia
embark; Magotine raises a storm at sea, which
does great credit to her creative powers, and but for
the serpent, who, in this case, turns out to be
the real sea animal, the Princess would be lost
on a reef of rocks off the Gold Coast. She and her
faithful attendant, however, are safely landed in the
Island of Jewels, and express their satisfaction in a
very pretty duet. Here the courtiers and suite of
the master of the territory—Viscount Carbuncle,
Earl Topaz, Lord onyx, Lady Pearl, &c.—visit
them, and announce that King Emerald (an invisible,•
green Prince, or rather an invisible green-prince)
claims the hand of the Princess on the understanding
that she will wed him without seeing his face; to
which, as there is abundant proof of his being well-
to-do in the world, she consents. The King performed
by (the bills say) Herr Karl Von Voxetpraatereanihil,
is carried on in *a golden litter, and sings a song, in
which he certainly does not make the most of his
voice. It is needless to say that the King is the ser-
pent lover held in durance vile by Magotine—that
the devotion of the Princess, a little impeded by her
curiosity, however, and the assistance of the Fairy
Benevolentia, restore him to his proper form, that of
an interesting young monarch, and bring about
a happy matrimonial conclusion. The success of
an extravaganza frequently depends more upon
the splendour of the dresses, the ingenuity
of the machinery, and the beauty of the scenes, but
the author should always endeavour not to destroy
the unity of glittering pictorial illusions with occa-
sional flashes of wit, and sly hits at the follies of the
hour, which in the present instance Mr. PlanchS has
failed to do. His verse is smooth enough, it is true,
but it wants more point, less verbosity, and some-
thing like originality in the humour. Audiences
have got tired of laughing at jokes made at the
expense of the orchestra, while their pockets have
suffered too much to admit of their seeing the
force of a railway pun, or tittering even at the gib-
beting of the deposed Railway King. The dialogue
its too dull end meaningless, and had it not been for
the splendour of the "getting up" the fate of the
Island of Jewels would have been sealed. Nothing,
however, has ever surpassed the magnificence of the
scenery; from first to lest it was one continued suc-
cession of gorgeous pictures—now exhibiting the
sunny landscapes of the east, anon the fresh green
sea, then stupendous mountain passes and dreary
caverns, and finally closing with a sparkling spectacle,
which language would fail to describe and the fancy
of a poet never realise. When wickedness has been
duly punished and virtue rewarded, a vast column of
palm leaves at the hack of the stage slowly opens,
each leaf bending towards the stage, and discovers a
group of nymphs on a cushion, bearing aloft "the
crown jewels." Of what they are made we cannot
say,—what the nymphs are dressed in it would be
impossible to assert. It seemed a web of silvery
light; the jewels sparkled with more than the lustre
of diamonds. All was a blaze of the most dazzling
colour, and the curtain fell on a most enthu4astic and
astonished audience, who will readily ogree
with us that the piece owes more to the
pencil of the artist than the pen of the author.
Madame Vestris and Miss St. George impersonated
the chief characters, and sang some of the songs
with which the extravaganza abounds with much
spirit and animation. The fair managreas herself
was encored in a parody on Jetty Treffz's song,
" Trab, trab, trab," and well she deserved it, she (lid
it with such fascinating archness. Miss St. George
made her first appearance at this house, and laboured
most arduously to please her audience. Her vivacity
and youth is agreeably refreshing, and allied to the
great ability she possesses, serves well to invest her
part with absorbing interest. Miss Isabel Dickenson,
who has resumed her former position at the
Lyceum, had a slight character entrusted to
her, but the exquisite beauty of her costume,
with her commandipg figure made it occasionally
attractive, slight though it was. Frank Matthews
cause out with great force, dressed as a king—such
a one as you sometimes meet with in a pack of cards—
and in the last scene, where disappointment in some
currency speculation has made sad havoc of his intellect,
and he determines to draw bills for impossible sums
and on all sorts of imaginary people, he is irresistibly
droll. The house was full, and.it is a safe prophecy
to predict that it will remain full till the
piece is worn out, when it is to be hoped
its place will be immediately supplied by some
of those drawing- room bijou sketches which
once made Madame so mighty at the Olympic.

March twenty-seven; time, evening, half-past six;
'l'he neighbourhood, so papers made allusion,
Was thrown into a state of great confusion;
High shot the flames, fiercely the fire-plugs play'd,
Loud swore the band of Braidevood's bole brigade;
The engines laboured with unceasing noise,
Policemen scuffled, and huzzaed the boys--
Seeing what once would 1-,avo been more enjoyed,
A French ship's maf;t, by English fire destroyed;
Whilst, grand efF. et, the nrst time for an age,
Real water fl coded the Olympic stage;
Or, from the engine-hose, in streams projected,
Produced an overflow quite unexpected;
And long before the following morning broke,
The lessee's hopes had ended all in smoke.
But English enterprize now laughs at time;
E'en did the Geni of the Eastern clime
For one night more Aladdin's palace raise,
It would not much surprise us now-a-days!
So our new theatre—all checks despite—
Opens, as promised, upon boxing•night !
And our new host has sent me on the stage
Y*:ur hands and approbation to engage—
Himself not much accustomed to appear,
To say how glad he is to see you here.

Yon might have thought allusion to assist,
The Phoenix, as a type, could not be missi'd;
But those who've studied from the Regeut's Park,

Or Surrey Gardens, to the Child's 1Co."-h's Ark,
Know, to bllieve in it, is most absurd
(1 di not mean the office, but the bird),
In this most practical, material age,

'he PlTeuix shows not even on the stage;

And all that ashes, non-a-days produce

Is soda for the walherrlowsn's use.

Alore trite the simile, still rather old,

Tr.at, as the chemists tell u#, doubtful gold,

Through fire sent, is purified at hist;
So let us hope, that through our furnace pass'd,
The Dranr.'s spirit, chastened and refined,

Comes over pure, leaving all dregs behind.
Now, one word for myself, in this my speech,
Or, rather, for my nation, I beseech;
To you who welcomed with a friendly hand
The two poor players from a distant land—

Who gave Ani.eriCa fresh cause to prove
Old England's liberality and love;
Believe us ever grateful for the weed,
Nor visit on a nation one wrong deed.

ale prize your arti,ta; let me aim declare,
low proud ar.d glad we are to see them there!
[Bell rings.]

Oh! goodness, there's the bell! I must away,

AlthO-ugh I still had very much to say.
Anon your verdict we shall come to seek;
So, for ourselves, let our endeavours speak."

Shakspere's excellent comedy of the Two Gentlemen
of Verona, which followed, was played very effici-
ently, the principal parts being taken by
Messrs. Davenport, Conway, Compton, Scharf,
Miss Vining, and Mrs. Seymour. Compton's Launce
was au inimitable piece of acting, and elicited loud
bursts of laughter, and it is but justice to say of the
dog Crab that he perfectly understood his master,
and knew that he was playing to an audience. As a
matter of course, however, the great event of the
evening was the new, original, grand, comic Christ-
mas pantomime, entitled, Laugh and Grow Fat; or
Harlequin Nutcracker, which is the production of Mr.
N elson Lee, and we presume founded on the fairy
tale well known in nurseries, in which
we Earn that the hand of a beautiful
Princess was offered in marriage to any facetious
individual who could move the risible faculties of a
certain dull, melancholy and taciturn Prince :

" Whoe'er the Priam can more to laughter,
Shell wed the Prineesi and be King hereafter."

The great representative of merriment is "Jovial
Christmas" (Mr. Morrison), whose faithful assistant,
Nutcracker, is engaged in the task of carrying good
cheer into the Court of King Nonsense (Mr. Stanton),
the lather of Prince Melancholy. A number of per-
sonified comestibles and kitchen utensils, represented
with a great deal of grotesque humour, form the
retinue of " Christmas." Nutcracker is a capital
caricature of the eccentricities of Sir Charles Napier ;
he parades and inspects the formidable battalion with
great strictness; and lays considerable stress upon the
small carpet bag outfit required by an officer on a
campaign. His enemy is Humbug (Mr. Morris), an
evil potentate, whose palace, supported by two gigantic
blowers of soap-bubbles, cleverly sets forth the various
" humbugs" of recent times. That evil may not pre-
ponderate to the detriment of dramatic justice there is
a troop of Naiades, who dwell in a pearly palace, and
pay allegiance to Queen Sincerity (Miss M.
Oliver). In this palace a new contrivance is
employed by which day is converted into
night with very beautiful effect. After divers
perils the Christmas party reaches the Palace of King
Nonsense, which is another instance of scenic in-
genuity, the absurd character of the monareh being
illustrated by the strangely composed figures which
form the columns of the building: The attempts to
move the melancholy heir apparent to laughter prove
abortive until an unpatronised artist, with the charac-
teristic name of "Humble Merit," brings a portrait
of Grimaldi, when the down-drawn corners of the
Prince's mouth are drawn upwards, and his emaciated
form swells into a comfortable obesity. On the
transformation of the personages into the character of
the harlequinade, Humble Merit becomes Harlequin
(Mr. Cormack), and the Princess, whose band he has
gained by his skill, becomes Columbine (Miss Mal-
colm), and mighty King Humbug is humiliated to tht
condition of Pantaloon (Mr. Morris). The Clown (Mr.
T. Matthews) starts from the picture of Grimaldi, as
the living representative of his illustrious predecessor.
The tricks were all cleverly arranged, but presented
little of a novel or original character. The allusions
to the political and other events of the day were not
numerous, but such as there were told well with the
audience. A hit at the Russian interference in

Hungary was amongst the best. By magic influence
an unsightly looking bear starts from a package of
bear's grease, a fine turkey from a parcel of Turkey
coffee, and the former menaces the latter; but two
little, miniature beings, in the shape of a
British grenadier and a smart French gendarme ap-
pear with the same rapidity, when the leer slinks
away and the turkey is escorted off the stage by the
two gallant soldiers. Mr. T. Matthews made a most
excellent clown. He sang " Tippitiwichet," " Hot
Codlings," and the other songs assigned
to the character in a way which brought
down the boisterous applause of the gods, and
danced the polka in imitation of the Casino style with
a black girl, to the evident gratification and mirth of
all. One of the most attractive features in the panto-
mime was the extraordinary feats of Signor Alveradi
and his Lilliputian pupil, who may almost be
considered superior to Risley and his son.
In the Terrsichorean department we are glad
to see a very pretty and agile dancer in Miss L.
Coleman, who, in a grand pas de deux with Mr. Mar
shall, acquitted herself in a way which promises well
tor the future. The scenery was very splendidly got
up, and on the whole the pantomime may be consi-
dered entirely successful.

abuses in their various departments, the mighty Jove
indignantly winds up by exclaiming—
" You're no more use, when by y.ur deeds I try ye,
Than would be so many patriot Lords of the Trea-
sury."
Chroons, Old Time (Mr. Harvey), " The good time
coming" (which has been so long on the road),
makes his appearance, and finds that innovation and
revolution have produced wonderful changes, altering
everything, and improving nothing, and he accord-
ingly makes complaints in accents "loud and deep,"
and calls forth remarks on men and things, from
several of the gods and goddesses, and among the
latter, from Minerva, who, i❑ a play on Pallas, has a
touch at the "Palace" Court, hinting to
Those who look for innovation,

Prepare to payaswinging compensation."

„ .
Diogenes (a Cynic philosopher, who once took a tub
for his house, and mankind for his butt), Mr. P.
Emery, next appears, and anon we havebim preparingfor "his nice look out,” taking a new box, and
advertising his " tub." Casinotis, alias Venus, 11lis
Rebecca Isaacs, anxious for an hone,t man upon her
own account, works upon the philosopher, who
determines to go in search of one, finds it difficult to
meet with such, exclaims 'tis all humbug, and admits
that he is as great a humbug himself as any going.
The "collective wisdom" is referred to, as indicating
"a good time coming," but Minerva, in her character
of Wisdom, exclaims—
"No, there they scout me,
The House of C, mown, manages without me."
Jupiter, in the course of the scene, changes his cha-
racter, and goes forth as a " Reformer" under the
assumed, and not altogether unpopular name of No-
taxes. He ascends the rostrum, and proclaims, in
good set speeches, against all prevailing abuses, in-
dulging his own vices by exposing other people's, and
giving vent to his virtuous indignation against men
and measures, and winding up with an address to his
dupes—
" You're poor, and so am I, and what of that?
If I am poor, why then send round the hat."

Mars is converted into Drabidus, President of the
"Peace Society," of whose body Prattilus and
Borus (Mr. Mazzoni and Mr. Harris) are members,
and presently we find them disagreeing, and at
fisticuffs with each other, as to how tie peace is to be
kept, Drabidus, in the melee, exclaiming, like a true
son of peace—
" Put any State down that does not like another,
And lick each man until he loves his brother."
Juno becomes a Mrs. Caudle in her way, and gives
some admirable lectures to her lord and master Jupiter,
on the duties of a husband, which are productive of
mirth, and a chapter to be studied by fast gentlemen,
fond of remaining out at night, and not remarkable
for the fulfilment of the domestic code. Mercury,
the fast gentleman, under the assumed name of
Telliates, becomes a proprietor of a magic
mart, breaking regularly once a year, and thriving
on ruinous sacrifices, of which the "poor shirt
makers" and "poor needlewomen" are not the least.
Apollo, as Atticus, becomes the poet of this magic
mart, and throws off his lyrics as Master of the
Mosaic Muse, to the amusement of the house. Vulcan
(Mr. C. Bender) vulcanises himielf into the charac-
ter of Mammonides, a celebrated Railway King, an
excellent imitation, cooking the shareholders' accounts
first, and everybody's goose, including his own,
afterwards. Gammonides and 13aruboozilus (Mr.
Geoffrey and Mr. Doo) represent railway directors
doing Maininonides' dirty work, worshipping him
while he is up, and blackguarding him when he is
down, thus showing the way of the world, its summer
friends, its shallowness, hypocrisy, and thorough
humbug. Diogenes has at length found "an honest
man," as he supposes, in a poor, poverty-stricken
Phcenix, a tailor, under the dignified name of &la
saiion (Mr. J. H. Turner), and consoles him, after ha
has had proof of his honesty, in the return of a lost
purse, by telling him to be of good cheer, that
" there's a good time coating,„ that " honesty is the
best policy," and "has its own reward ;" but failing
to give him anything. Fine words are cheap, and so
is " humbug," which the piece, as the quality prevails
in the present age, exposed and castigated in graphio
and forcible verse. The audience were in raptures
both with the sentiments and the company, who were
well rehearsed in their parts, and who played
to each other with point, humour, and effect.
The scenery, principally of the classic cha-
racter, was very beautiful, and much
admired. The extravaganza, as a whole,
cannot fail to become popular; at the same time the
pruning-knife, judiciously applied, might be of con-
siderable service. The evening's entertainment con-
cluded with the representation of Poole's celebrated
drama of The Past and Present; or, the Annals of
the French Revolution.

SADLER'S WELLS THEATRE.

Otway's deservedly popular tragedy of Venice
Preserved was represented at this theatre yesterday
evening, and never on any previous occasion did we
see the house so crowded. Long before the curtain
rose the theatre was densely filled from floor to
ceiling, and hundreds were obliged to put up with
no better accommodation than standing room. 01
Lite years this theatre has acquired a deserved reputa-
tion for its maintenance and representation of the
oational drama in all its purity, end no better proot
could be afforded of the thorough appreciation of
this highly creditable aim by the public than the
crowded state of the house last night. The part of
the amiable Jeffier was played by Mr. G. K. Dickin-
son, and was sustained throughout with great good
taste and judgment, despite his naturally weak voice
and some few peculiarities of pronunciation
which jarred on our ears. The generous
friendship, the noble and disinterested love,
and the touching ingenuousness thrown into
the character by the author were given by the
actor with singular felicity and effect. The less
popular but equally difficult part of Pierre was ren-
dered by Mr. G. Bennett in his usually effective
manner. The deep rich voice of Mr. Bennett, his
correct taste, and his manly and natural motions and
deportment on the stage, mark bim out as a man who
will achieve the highest position in his profession.
Already has he earned for himself a reputation of
which he may well be proud. The author's concep-
tion of the bold soldier, the generous friend, and the
unscrupulous conspirator, embodied in the character
of Pierre, were in turn executed by him last night
with a fidelity and a force beyond all praise,
and which elicited frequent bursts of the
heartiest applause from the audience. Miss
Glyn played the touching part of Belvidere in a way
which reflected credit upon her judgment and skill.
Her melting appeals for forgiveness to her implacable
father, her generous, unchangeable, and confiding
love towards Jaffier, her unbounded joy, painfully
alternating with the deepest misery and despair, were
all rendered in a way true to nature, though the effect
was now and then marred by an infelicitous
smile or movement, or a look, apparently appealing
for approval to the audience. As it was, her
acting frequently earned for her the plaudits of the
house • and at the conclusion of the piece she and
Mr. Bennett were frequently called for, and both
appeared upon the stage and bowed their acknow-
ledgments. The acting of Mr. Graham, as Renault,
was singularly happy ; and Mr. H. Mellon's Friuli
was equally unexceptionable. The play was followed
by the production of the Christmas pantomime, en-
titled Harlequin and the Dragon of Wantley; or
Moore of 21100 re-hall, and Mother Shipton's Black
Dog; and as soon as the first notes of the overture
were struck the glee of the audience was perfectly
uncontrollable. Whenever in the course of this
musical medley any particular favourite air was per-
formed, the whole house joyously roared forth a most
vociferous, if not a most melodious accompaniment. In
attempting to describe the plot of that part of the
pantomime which precedes the regular harlequinade
we certainly labour under great difficulty, as the merri-
ment of one half of the audience, and the numerous
and anxious calls for " order " from the other half,
rendered the dialogue almost inaudible. It was,
however, very evident that a voracious dragon, who
gobbled up children by scores for breakfast, and made
his dinner off as many men or women (being in
nowise particular), was the terror of the rustic
neighbourhood of Waniley. The Baron of Wantley,
while sitting down to his family dinner, is perfectly
dismayed by the appearance of this dreadful visitor,
who pops in quite unexpectedly, and after satisfying
the immediate cravings of his inordinate appetite with
the best of the Baron's viands, finishes with carrying
off the Baron's daughter, whom, as a delicate morsel,
he reserves for a future repast. In this intention,
however, the Dragon is disappointed ; for Moore
of Moore Hall, being in love with the young
lady, pursues her ravisher, and, in a pugilistic
encounter, gives him a blow that proves a
complete " settler." Then, of course, as nothing
else remains to be done, everybody is transformed,
and the usual pantomimic tricks and bustle ensue.
Guy the Grim, Baron of Wantley, is turned into
Clown (Mr. T. Ridgway), Moore of Moore Hall
into Harlequin (Mr. C. Fenton), the Baron's wife
is transformed into Pantaloon (air. Gramani), and
the terrible Dragon, casting his skin, accompanies the
party as an attendant sprite. This latter part was
filled by Mr. Thorne, Rho in tumbling and leaping
exhibited so touch agility as frequently called forth
the applause:of the company within the theatre. The
pantornine is altogether well got up. The scenery
!, good, the changes are rapid and clever, the costumes
attractive, and the allusions to passing events suffi-
ciently pointed. The part of Columbine was grace-
fully sustained by Miss Kate Kirby. One or
two hits told immensely. Compensation to the
Palace Court lawyers was typified by a member
of the wig and gown in the stocks, and the audience
cheered as if every second man were a "Jacob
Omnium," and had defended a suit before the mori-
bund tribunal. The Smithfield Market nuisance
was the subject of a series of wooden jokes, some of
which told, while others were incomprehensible ; but
the strong point wail that the cattle market 511011101

laz: forthwith transferred from Smithfield to Islington.
The whole concluded at past one o'clock with a grand
finale) representing a fairy palace and a benignant
spirit bestowing on the characters the rewards of vir-
tue and constant love. The dancing and deportment
of Miss Kate Kirby, as Columbine, elicited general
applause. " Youth" was fitly and prettily represented
by Miss Bullen ; and the feats of agility of Mr.
Thorne, a supernumerary clown and afterwards a sprite,
appeared to elicit the wonderment of everybody.

" thunders" of applause. The entire amusements
consisted of a multiplicity of excellent arrangements
carefully made, and the whole being well acted caused
the pieces to be well worth seeing, and the efforts of
all parties "to please" deserving of being crowned
with success.