The Sun.
London, England, 1859-12-27 00:00:00

LYCEUM.

The plot of the Christmas extravaganza at this theatre
has been already described in these columns, and it is our
agreeable duty now to record its execution. The attention
of the London public had been already excited by brilliant
anticipations of the wonderful scenic effect promised by the
artistic skill of Mr. Calcott, to whom we are indebted for
one of the most charming combinations of light and colour,
aided by exquisite drawing and design, which we ever wit-
nessed on the London boards. This is the " Transforma-
tion Scene," a title now universally adopted to distinguish
that portion of this class of romantic entertainment, when
the poetry of the introduction attains its climax, and
contrasts with the boisterous business of the harle-
quinade. It is but justice to the scene and to
the artist that we should for a moment pause,
for the purpose of giving some definite idea of its
intention as also of its constituent parts. It will be remem-
bered that the charming heroine of the piece, the Princess
Imperiosa (exquisitely represented by the pretty Miss
Hudspeth), is a young lady of most ungovernable temper,
and that it is only when she is reduced from her high
estate, and, under the influence of love, she lays aside her
pride, that the true influence of her beauty is fully felt and
appreciated. It is not very easy to deal logically with these
fanciful representations, but this is the moral involved,
and Mr. Calcott has embodied in the allegory he has
adopted, of the chrysalis and the butterfly, the truth that
circumstances, however humble, and an exterior, however
rude, may be the birth-place of the lovely and the beauti-
ful. The scene represents a dense mass of under-
grown fern which gradually expands, and discloses
a silvery light, and every variety of hue is thrown upon the
leaves as they expand until the stage presents a profusion
of foliage, gracefully disposed, and overhanging a crystal
lake formed of looking glass, which reflects the outline of a
variety of graceful wood-nymphs artistically reposing in
eeatumes of admirably chosen colours. The effect of this
scene is dazzling, and the intense silvery whiteness of the
background is relieved by an arrangement of spiral glass
columns, which, continually revolving, keep up an inter-
change of light and shade. We believe this is the first time
that the introduction of glass on a large scale has been em-
ployed for such decorative purposes. Of the artistes it is
impossible to speak too highly. Miss Julia St. George was
of course a very charming Prince Hafiz, and her magnificent
contralto displayed itself to great advantage not only in the
dialogue but in the music allotted to her. Miss Hudspeth,
as the Princess Imperiosa, acquitted herself charmingly,
and was as great a pet as could be desired ; and
Mr. Reuse, as King Paterfamilias, successfully
rivalled, if he does not surpass, all the burlesque
kings who have gone before him. Miss Stuart as Abigail,
and Miss Turner as the page, were both excellent, and we
should not omit to notice that the music selected was ably
executed by the orchestra, as well as by the vocal force of
the establishment. Nothing could be bettor given than the
concerted pieces. We do not hesitate to say that some of
the morceaux were given with a taste and judgment worthy
of an opera buffs company. The harlequinade went off to
the delight of the audience. Mademoiselle Rosine, the
Columbine, was a very elegant and graceful embodiment of
that fairy personage. She was ably supported by the two
Marshalls as harlequin and clown, and the never-dying
pantaloon was represented by Naylor. During the trans-
formation scene the audience testified their admiration by
most vociferous applause, and Mr. Calcott presented him-
self and bowed his acknowledgments. Loud calls for
Madame Celeste followed, and on that lady's appearance
she was received with a perfect ovation. The entertain-
ment altogether was a complete success.