The Sun.
London, England, 1860-12-27 00:00:00

THE SUN, LONDON, THURSDAY EVENING, DECEMBER 27, 1860.

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TEE CERISTMAS A mUsENEN2s.

DRURY-LANE.

This theatre last night commenced its season in
earnest with a grand comic Christmas pantomime,
entitled "Peter Wilkins; or, Harlequin and the
Flying Women of the Loadstone Island." The
first scene represents the interior of a Cornish mine,
where Peter Wilkins (Mr. W. Templeton) is dis-
covered to be rather.of a lazy turn, and receives
" more kicks than halfpence" as his reward. On
the visit of Earl Trevanion (Mr, R. Power) to the
mine, which is his property, accompanied by his
fair daughter Consttntia (Miss Conway), Peter
falls in love with the lkttcr, and is beloved by her
in return. Hereupon the captain of the mine and
his brother miners vent their spleen upon poor
Peter by shutting him up for the night in the
mine, and here, in the midst of his solitude, he is
visited by Feldspar, the chief of the Kobolds, or
Goblins of the mine (Mr. Barsby), followed by an
immense retinue of pigmy Kobolds, who stretch,
in picturesque array, diagonally across the stage,
and, considering their tender age and tiny pro-
portions, perform marvellous manoeuvres. This
leads our hero to " A Visit to Elfin Land in the
Crystal Sphere"—a magnificent Turneresque scene,
filled by elves, fairly bedight in gold tissue, who
throw him into a sort bewilderment with their
fairy-like music and maty dances. This scene was
the first great hit of the evening, and one of the
most successful efforts of Mr. W. Beverley, who
was summoned to the footlights to receive
the enthusiastic congratulations of the audience.
Another scene, on terra firma, at the gate of
Trevanion Castle, leads to an incident which
results in Peter Wilkins engaging himself as
cabin boy on board the " good ship Adventurer,"
sailing on some distant voyage to or via the South
Pacific. A storm at sea follows, amusingly diversi-
fied by the introduction of a variety of marine cu-
riosities—such as John Dory, Dogfish, a real mer-
maid, and the original whistling oyster which
delivers itself of an accompaniment obligato of a
well-known air, the name of which we do not at
the moment happen to recollect, with remarkable
fluency and clearness of tone. But the attractive
power of the Loadstone Rock is irresistible ; the
Adventurer is wrecked and goes to the bottom,
leaving Peter Wilkins perched on the point of a
reef. The transformation scene which now imme-
diately follows completely eclipses the Elfin Land
effect already described, and in many particulars
surpasses any similar effort of stage decorative
structure which we have hitherto seen. It repre-
sents a great gathering of the Winged Women at
the trysting place by the spreading Banian Tree,
with beautifully winged glumms and gwaries de-
scending through the air, in glittering array, in a
grand scene of fairyland, illuminated by rays of
light of varied hues. Here again the audience
were so taken by storm that Mr. Wm. Beverley
was again vociferously called for, and appeared in
obedience to the summons to be overwhelmed by a
perfect hurricane of plaudits. According to the
custom at this theatre we were treated to a double
pantomime company—Harlequins, Messrs. Cormack
and St. Maine ; Columbines, the Misses Gunniss ;
Clowns, Messrs. Huline and R. Power, besides a
little one by young Huline ; Pantaloons, Messrs.
H. Naylor and R. H. Martin. Taken as a whole,
this Christmas pantomime may be pronounced suc-
cessful. The house was crowded in every part
from the very opening of the doors.

HER MAJESTY'S.
The pantomime proper has just now received an
immense addition to itsprestige in the fact that for
:he first time, thanks to the enterprise and radical

predilections of Mr. E. T. Smith, it has found a
home in that great shrine of Apollo, the temple of
the Opera in the Haymarket.. The stage that vas

once made vocal and reverential by the ainging'of
the " glorious quartet," Grisi, Rubini, Tamburini,
and:Lablache, now reverberates with the shouts,

bumps, thumps, and vociferations of the less "glo-
rious quartet"—but still glorious in many eyes—
of Harlequin, Clown, Pantaloon, and Columbine.
Mr. Smith, however, did not last night present the

first pantomime at her, Majesty's Theatre without
prefacing it with a musical performance—one,
too, of no ordinary kind—thus preserving, to a

certain extent, the operatic character of the great
establishment in the Haymarket. By this he has
shown that not only does he not intend giving up

opera during the run of the pantomime, but deter-
mines to abide by it as pertinaciously as ever. It is

impossible to surmise that he would, under any

other conditions, have produced a new opera on

boxing-night, when every other theatre in London
was bringing forward some piece of little worth, or
used up, as good enongh on such an occasion. The
new opera, " Queen Topaze," is an English version

of M.Victor Masse's " La Reine Topaz," introduced
some few seasons ago at the Opera Comique of
Paris with moderate success. The pantomime
written by Mr. E. L. Blanchard, " expressly,"
as the bills assert, "to employ the vast operatic

and choregraphic resources of this establish-
ment," is founded upon the familiar old
English story of " Tom Thumb," and is en-
titled " Harlequin and Tom Thumb; or, Merlie
the Magician, and the Good Fairies of the Court
of King Arthur." The miniature hero, per-
sonated by Miss Lilla Ross, goes through all the
traditionary adventures recorded in the memorable
narrative. He is brought out of a magic album by
the art of the great wizard of the northern climes,

is shaken up in a bag of cherry stones, tied up in
batter pudding, swallowed by a red cow, absorbed
into the system of the giant Hurlothrubo, devoured
by a salmon, and finally brought before the table
of the great King Arthur, by whom he is knighted,
and who appoints him a residence in the palatial
mousetrap, whence he sallies forth, on a docile rat,
on the expedition that leads him to his legendary
fate. Here, however, the good fairy interposes, and
he is transformed into Harlequin, whilst the rest of
the principal characters undergo the usual magical
metamorphosis. The celebrated Lauri Family sup-
pos t the humours of the harlequinade, and the ballet
and the choral departments figure conspicuously in
the opening. Mr. Wm. Beverley has invented some
most effective scenic contrivances for the embellish-
ment of the opening ; and Mr. Tully, by original
music, has given some striking features to the vocal
illustrations; the masks and characteiistic costumes
are, as a matter of course, in any theatre under the
management of Mr. Smith, by Dykwynkyn, a
merry sobriquet the manager has given to his in-
spector of robes and tailor general.
The Lauri Family undertake all the principal
personages in the harlequinade, Miss Jenny Lauri
being Columbine, Mr. J. Lauri Harlequin, Mr. C.
Lauri Clown, and Mr. H. Lauri Pantaloon. The
great scene of the piece takes place in the presence
of the King and the Distinguished Representatives
of the Ancient Days of Chivalry above alluded to.
It changes from the banqueting hall of the Palace
to " The Chameleon Temple of the Fairies," which
we pronounce without hesitation to be the grandest
' and most magnificent tableau we ever beheld in
pantomime. To describe the scene is utterly
beyond our power. One exquisite effect is
the manner in which the same scene, re-
presented in the most brilliant lustre, is first
given in pink light, then in blue, and finishing in
dazzling gold. The excitement following this scene
was immense, and a loud cry being raised for Mr.
Beverley, the scene-painter and designer, when
Mr. E. T. Smith stepped forward incontinently
and was saluted with hearty cheers from all
parts of the house. Boots it not to dwell
upon the peregrinations and vicissitudes of Clown
and Pantaloon, attended upon by faithful Harlequin
and graceful Columbine. These may be left hope-
fully to the imagination of the reader, seeing that
the old routine was not violently departed from,
and that the quartet adhered to the good old stock

tricks and practical jokes, without which indeed the
pantomime would be a misnomer.

COVENT GARDEN.

The Covent-garden version of M. Victor Masse's-
" Les Noces de Jeannette," lightest of light operas
as it is, was heavy enough for a Boxing-night lever
de rideau. In some respects, indeed, it is specially
adapted for the purpose, the action partaking some-
what of the spirit of pantomime—witness the pol-
trooneries of the lover, with his furniture-breaking
propensities, and his craven fears of wedlock. But
whether specially fitted or not, " The Marriage of
Georgette" was quite to the taste of the audience
that crammed Covent-garden last night. Miss Pyne
was in capital spirits and voice, and poured out her
wonderful bravura, " At my cottage door," with all
her old inimitable fluency. Mr. H. Corri was in his
best state of perverse unloveableness, and allowed
himself to be coaxed, and fed, and mollified into
loving the pretty and only too forgiving Georgette,
with all the relenting surliness of a fuddled bear-
cub. So entirely well did the tiny opera go off,
indeed, that very possibly even the most juvenile
portion of the audience had not been impatiently
desiring to see the curtain down for more than half
an hour before it fell.
Of course the pantomime was the attraction of
the night—as of course it will be for many nights
to come. The subject, violently seized, wrung and
contorted by that able pantomime-wright, Mr. J.
V. Bridgman, is the history of our old enemy,
" Bluebeard," who, by the way, is not the only
wife-killer of that hue of beard, who parades his
reprehensible mode of domestic management this
Christmas—for there " be" two Bluebeards in the
pantomime-field. As our readers are already in-
formed, Mr. Bridgman's story of the many-wired
hero is not exactly according to the orthodox narra-
tive with which we were once all of us so excitedly
familiar. Last night we found Bluebeard in com-
pany with a certain interpolated King Despotino,
and attended by a personage with whom fami-
liarity would certainly not, under any circumstances,
"breed contempt," namely, the Demon of Remorse.
Bluebeard's royal acquaintance, King Despotino,
is an impersonated warning to monarchs with a
taste for governing their subjects according to rule
of thumb-screw—if, indeed, it is permissible, even
in pantomime, to imagine any such regal impossi-
bility. Britannia, whom we find also imported into
the story, is, of course, our own genius, whose mis-
sion (in t his present pantomime) is to foster the
boldest and furthest-going efforts of Freedom every-
where and for everybody in the world ; and the way
in which she aids Freedom (who is not too strong
for her work) to overthrow King Despotino (who
is very " strong in his wrong") by assuring her that
she (Freedom) has her (Britannia's) "best wishes,"
is a sentiment calculated to reach to the depths of
a British Boxing-night audience's patriotism, and
it reached it accordingly.
Of the scenery throughout it is hardly possible to
speak too highly; it is worthy of the artists(Messrs-
Grieve and Telbin), whose old renown is associated
with the so-called palmy days of pantomime. The
dark scene which precedes the "transformation
scene" is a design full of poetry and feeling; it re-
presents a wreck-strewn sea-shore, on which there
is a lightless lighthouse, giving a look of awful
desolation to the view. The transformation scene

itself is, we are quite sure, one of the most beautiful
soenes of the kind that has ever been seen. It is a
very wonder of ingenuity ; but it has a charm which
is mostly wanting in such scenic displays—it is
most beautifully harmonious in colour, and fault-
lessly graceful in every arrangement of form, for
it takes many new forms in the course of its deve-
lopment. The applause was loud,- long, and
thoroughly spontaneous. We need not add that it
was well deserved.

The harlequinade was what all harlequinades
must ba, we suppose. It has the merit .of being
carried on by a double set of Clowns, &c., among
whom are several old favourites, as Harry Bolen°,
M. Milano, W. A. Barnes. The only fact notice-
able in this performance was the occurrence
of an accident which, for a moment threw the audi-
ence into a state of alarm. A mass of the scenery
fell forward with a crash, overthrowing a number
of persons who were upon the stage. Mr. Harri-
son, however, came forward to announce that no
one was hurt, and after a few minutes the business
went on. Considerable retrenchment of the harle-
quinade will, no doubt, be made, and then we have
no doubt that for a long succession of nights
" Bluebeard" will run along " as merry as a grig"
whatever that may be.

HAYMARKET.
The bill of fare at this house judiciously com
menced with Goldsmith's glorious old comedy
" She Stoops to Conquer," at once appealing to the
better senses of a Boxing-night audience, and in-
troducing Miss Fanny Stirling to the boards of the
Haymarket. Of this young lady it is impossible to
speak too highly. She is so thoroughly lady-like,
and she evinces such genuine feeling, that if her
stage education were less complete than it is, one
could not help being pleased with her. The rest
of the characters were cast as usual.
The title of the pantomime is " Queen Lady
Bird and her children ; or, Harlequin and a House
on. Fire ;" and it gives rise to some very novel effects
by a combination of fire and water, of whioh Mr.
Fenton, the much-esteemed scene painter, makes
the most of. He is ably assisted by Messrs.
O'Connor and Morris; and the pantomimic part
being committed to the Leclercq family, it is admi-
rably carried out.
The introductory or fairy portion consists of
twelve scenes, all charmingly painted, and some
with extraordinary and entirely new effects. We
may particularise the cell of Aphis and the effect of
an April shower, Allegorical Palace of King Aphis
and the Children's Bedroom, where a grand bolster-
ing match takes place, to the infinite merriment of
the smaller portion of the audience, though the
laughter and enjoyment are by no means confined
to them. Then comes the burning of the bower
and the transformation scene, where arises a new
house from the ashes of the former. Here real water
is seen in every form, and makes one of the most
beautiful and fanciful scenes ever produced.
The harlequinade that follows is well kept up by
Mr. Arthur Leclercq as Harlequin, Miss Fanny
Wright as Columbine, and Mr Charles Leclercq as
Clown. Of course none of the principal incidents of
the past year are forgotten. The excess of rain ;
the contest with street musicians ; the new road in
Kensington Gardens—and of course the Prince of
Wales's visit to the capitol at Washington, which
gives an opportunity for a grand finale, typifying
the brotherhood of John Bull and jonatfian ; and
the curtain is brought down to " God save the
Queen," and " Yankee Doodle."
There can beano doubt this elegant and fantastical
production will become a great favourite with the
frequenters of this theatre, who seem to look for
prettiness and gaiety, rather than a more monstrous
pdoroudaucetffioecnt,af.ulllotf boisterouswa
a crowded and
d
author was duly honoured by
a m iz,ah haupmpol
anur d
ea
dn,
asnt
du p
tehne-
fashionable audience.

PRINCESS'S THEATRE.
The Christmas entertainments at this house
opened with " Ernestine," which was performed
with the same caste of character as en former occa-
sions of its representation. It was performed in the
most perfect manner, and at its conclusion was
greeted with applause.
The pantomime is entitled " Robinson Crusoe ; or,
Harlequin Friday, and the King of the Caribbee
Islands," a burlesque by Mr. Henry J. Byron. The
first scene opens with a charming view of the Hard,
at the seaport of Hull, where we find Pretty Jenny
Pigtail (Miss Murray) the object of ambition to
Capt. Will Atkins (Mr. J. C. Shore), a pirate, who,