The Sun.
London, England, 1867-04-15 00:00:00

7HEATRICAL AND MUSICAL:

Blind Tom has given his last concert in London,
and this singular and inexplicable phenomenon will appear
during the forthcoming season before Parisian audiences.
The extraordinary powers of this negro lad are no tricks
of tho stage, but performances which have puzzled, and
continue to puzzle, the greatest masters. Mr. Howard
presides over Tom's entertainment in a manner which
displays to the greatest advantage the• powers of his
protegi, and leaves on the public a pleasing impression of
the kindly feeling which exists between the musical
genius and his guardian, and that every opportunity is
given to those present to test his powers. The extra-
ordinary grimaces and antics of the young negro on the
stage have led some to conclude that almost every faculty
ho possessed was absorbed in one, and that nature in gift-
ing him with an unequalled ear, and power of analysing
sound, was compelled to deprive him not only of sight, but
of reasoning faculties. This Mr. Howard denies.
"Blind Tom," ho announced, "is not an idiot, but, on the
contrary, possesses no ordinary capacity of brain. Still
he is peculiar in disposition, and far from being easily
controlled." At times both himself and the audience
had been astonished at the piece performed in answer to
his announcement. Lately in Scotland, during the in-
terval of rest, the sound of the tuning of a fiddle had come
from an adjoining apartment where a dancing master was
instructing a class. On returning to the stage, Mr. Howard
gave the piece selected, but Tom 'reproduced the sounds on
the piano he had just heard, to the surprise and delight of
the audience. Mr. Howard invited Tom to repeat the inci-
dent, which ho did to the satisfaction of all present. A
young lady, in response to the manager, stepped
iece on the
stage and played a difficult and elaborate p. Toni
turned his back, put his hand up to his ears, bent his hea
forward, and on the conclusion sat down and repeated the
selection, with an accuracy so marvellous, that if it wore
not well authenticated, people would be justified in think-
ing that the performance had been pre-concerted. He can
analyse the most discordant sounds and re-produce every-
thing he hears. To him, musical notes are the alphabet,
and with his back to the audience, so that even the idea
that a glimmer of sight might not account for the fact, he
tells the article any one of the audience may hold up
to public view, spelling the word by the notes struck
on the piano. His touch is exquisite; his voice clear
and finely modulated, and he performs in his entertain-
ment, the most grotesque and extraordinary musical com-
bination which Mr. Howard terms "monstrosities," with
an execution which might well satisfy and delight, the
most fastidious taste.

PRINCE OF WALES THEATRE, LIVERPOOL.
The combination between Messrs. Henderson and Byron
the common management of the three leading theatres
—however advantageous it may be to the lessees, and
probably the drama—has brought about one change which
every playgoer in the community will regret. We refer
to the retirement of Mr. Edward English, the acting mana-
ger of the Prince of \Vales Theatre. This gentleman first
made the acquaintance of Liverpool people as agent
for Mr. E. A. Sothern, when "Lord Dundreary" was a
stranger in his native town, and wo are persuaded that not
a little of Mr. Sothorn's early success, both in America and
and in this country, may be traced to the tact and energy
of Mr. English. It is all very well to reflect that talent is sure
to be found out by the public, but withoutgood management
talent (especially in theatrical matters) stands a very fair
chance of growing old before being recognised. This, how-
ever, was not Mr. Sothern's fate under Mr. English's care. In-
deed, the palpable success of the latter recommended him
to Mr. Henderson for the office of acting manager of the
Prince of Wales Theatre, and every ono knows that the
anticipation has not been disappointed. In his hands the
theatre has boon a pattern of good managenient-underno
small difficulties. At the old how in Clayton:nun he

PRICY 4d.
STAMPED sd.

solved the problem of putting a quart into a pint bottle, and
that too without making the public indignant at the squeez-
ing and packing which the feat entailed. This we take to be
the highest test of an acting manager's skill - the getting of
more "money" into the house- than the house is meant
to hob!, without, however, nuking the ire of bilious devo-
tees of Melpomene and Thalia. The good word every one
has to say for Mr. English—the aforesaid squeezing Dot-
withstanding—is evidence of his adroitness at manage-
rial legerdemain. For no fault of his own, nor on the
part of Mr. Henderson, but solely on account of inexorabl,
" ,;ircumstances," Mr. English is about to abandon his
double post at t he Prince of Wales Theatre and the 'Varieties
(the hatter connexion being altoget her nominal), and, as we
have said, the news has caused gimeral regret. Another good
feature in his character is that he is as well thought of by
his colleagues as by the public, and this feeling has been
marked in a very pleasant way. The officials in "front"
of the house—to the uninitiated in theatrical parlance we
may explain that the "front" means the auditorium—
presented Mr. English on Thursday night with a silver
cup, richly chased, and bearing the following in-
scription :—"Presented to Edward English, Esq., on his
retirement as acting manager of the New Prince of
Wales Theatre, being a small token of esteem from a
few members constituting the front of the h use. March
30, 1867." Accompanying the goblet was a letter written
by Mr. Huy, the box bookkeeper, couched in the most
kind and considerate terms, conveying the best wishes of
the donors for Mr. English's future welfare, and deeply re-
gretting the severance of his connection with them. It is
whispered that the professional members of the company,
or those " behind," also intend to mark in•a practical way
their good-fellowship with Mr. English.—Liverpool
Courier.