The Sun.
London, England, 1846-07-18 00:00:00

HA YMARKET THEATRE.

The Wonderful Water Cure—such is the title of a one-
act burlesque opera in which Madame Anna Thillon is
drawing crowds every night to the Haymarket. The
Wonderful Water Cure ! Ay, an admirable cure it is too
for the blue devils—not that the water does much, for
were it not for the spirit infused into it by the artists
(including in the term author, composer, musicians, and
actors), it would be as vapid as the veriest hydropathist
could desire. This spirit—and it is indeed the spirit of
fun—is administered in most anti-homeeopathic_doses, and
it tittilates the midriff', producing a by no means unplea-
san t semi-conelusive action of the muscles, moving the ribs,
and explodes in a roar of laughter, by which explosion
the blue devils are blown to their namesake. The won-
derful water-cure is the most effective remedy extant for
the spleen, and thus it is administered. The patient is
supposed to be seated in a box at the Haymarket Thea-
tre. He is to keep his eyes fixed on the stage. The
scene represents a country fair at night. There are two
booths opposite each other—the one, the property of Dr.
Tartaglia, the proprietor of the celebrated water-
cure ; the other, belonging to a certain Signor
Belloni, his rival in every sense of the word.
Our patient will then see a well-dressed young
man, advancing upon tiptoe from the back of the stage,
carrying an umbrella. He sings a serenade—that is
Mr. Hudson, who acts the part of Signor Belloni. He
is soon joined by one of the most lovely, fascinating
creatures in the world, dressed in the most becoming
costume, looking La Leese de l'Espieglerie, and singing
in the most sparkling, dazzling, and coquettish style
imaginable. That is Madame Anna Thillon, who acts
the part of Argentine. It is soon evident that Argentine
and Belloni are in love with each other ; but alas
Argentine is the ward of the old quack doctor,
Tartaglia, who is determined to make his ward his wife.
Day breaks, and the lovers are interrupted. Tartaglia, the
pompous quack enters and questions his ward. And who
enacts Tartaglia ? No less a personage than the im-
mortal Paul Bedford, who, having had the good sense to
prune down some of his Adelphian exuberances, makes
the most glorious Quack Doctor in the world. The
rustics assemble, Tartaglia mounts his stage, Argentine
blows the trumpet, and the Doctor makes an oration,
and the rustics buy the medicine. But behold an oppo-
sition. Belloni im the other side of the way, sports an
equally wonderful water cure ; and if Tartaglia
has Argentine and a trumpet, Belloni has Scare-
mouch and a gong. The scene is a rich one.
The fair trumpeter is admirable, the quarrel is a very
pretty quarrel; but at length Belloni is fairly driven out
of the field. Like many a great hero, however, Tar-
taglia falls in the hour of his triumph, Cedant arma
togce, and the victor in the fight becomes the victim of
diplomacy. Argentine, his trusted minister has a
secret understanding with the enemy. Belloni is
seized with sudden illness. He has poisoned himself
because his suit has been rejected by Argentine. Yet
still he would fain leave her his whole property,
consisting of 30,000 crowns. His danger is so im-
minent that there is no time to make a

will. The Podesta, who has been sent for to
unite her to Tartaglia, has a marriage-contract ready
prepared. What can be easier than to insert the name
of Belloni in the contract instead of that of Tartaglia,
and then, as his widow, she will inherit the fortune
which Tartaglia, as her second husband, will share with
her? It is done, and, lot a miracle of hydropathy.
Belloni drinks of the wonderful water, and is
cured. Tartaglia—the Guizot of private life—at
once accepts the fact, and by so accepting, effects sales
of his medicine to an enormous extent. Is not this a
wonderful water cure ? And has not our patient, who
we have supposed seated in the boxes, been cured of the
blue devils ? No doubt he has, and let all who are
afflicted in the same manner try the wonderful water
cure. Probatunz est. The music of this most amusing
opera buffo is by Mr. Grisar, and is admirably
characterestic. Every situation and every sen-
timent is accurately translated into the universal
language; and so completely expressive is the music
that it seems almost a work of supererogation to add
words to it. As to the Argentine of Madame Anna
Thillon it is perfect. Nothing could be more brilliant
or expressive than her singing, nothing more arch than
her acting. She was a female Figaro. The applause
throughout was most enthusiastic, and at the fall of the
curtain, when in obedience to the call of the audience,
she was led forward by Hudson and Paul Bedford,
wreaths and bouquets innumerable were showered upon
her. Among these floral offerings were two exquisitely
formed crowns; a most fitting tribute to her who is the
living representative of two of the muses. The one was
for Thalia—the other for Polyhymnia.

FRENCH PLAYS,
ST. JAMES'S THEATRE.
The third of the performances of Mademoiselle Rachel
took place last evening. The play chosen was The Cid of
Corneille—that tragedy which, condemned by Cardinal
Richelieu, was yet approved of by the whole of Prance, and
the production of which secured to the great Corneille an
immortality. The story of the play is taken from the
Spanish, and, albeit, it is treated) classically, the plot itself
is essentially of the romantic school. From the time of the
production of Le Cid, Corneille tended more and more
towards classicism a most fortunate thing for
the Viscount Victor Hugo, for had the tendency
of the great Corneille been towards romanticism
the learned Viscount would have been forestalled, in which
case, perhaps, he would have come out as the reviver of the
classical drama, and have given us a " Cinna" instead of an
" Hernani." Mademoiselle Rachel acted the part of Chimene,
the diughter of Don Gomez, who is betrothed to Don
Rodrigue, the Cid. The father of the Cid is an old man,
and Don Gomez pointedly offers him the most deadly in-
sult. Called on to protect the honour of his house, Don
Rodrigue challenges the insulter of his father to mortal com-
bat, and Don Gomez falls. The love of Chimene for the
Cid is turned to hatred—she loudly demands the death of
him why slew he; father According to gie laws of chiTalry