The Sun.
London, England, 1845-11-04 00:00:00

DRIJICY-LANE EtEATRE.

A grand extraN'asanza fairy spectacle, entitled The Princess
s'l'9 was Changed ndo a Deer, was produced at this theatre
last evening. It is focmded on the French piece, La Riche
au Bois, which has been recently acted at the Porte St.
Martin for nearly two hundred successive nights. The
clot is a variation of the story of the sleeping
beautY• We have the christening of the infant
rincess, the gifts of the good fairies who had
fairy,
invited as guests, and the malevolence of the wicked
'airY, who appears as a guest although uninvited. She
threatens to destroy her if she sees the light of day until she
has attained her 21st year, and on the advice of the other
fairies she is shut up in a tower without doors or windows.
Here the author leaves the old fairy-tale and borrows
lit incident from the story of the Princess of China
'n the " Arabian Nights." In her dreams she sees
a handsome young Prince and falls in love with him,
and he in his dreams sees the Princess, and falls in love
father,
her. He soon discovers the original. The King, her
sther, has sent .his trusty squire to all the neighbouring
corals with the portrait of his daughter' to secure a suitable
alliance for her. The Prince recognizes her portrait—de-
awls her hand, and she is to be conveyed to him
To a chariot without windows. A black Princess,
herin familiar to waylay the carriage, break it pieces
In the forest, and the Princess is transformed into
deer. The' Prince, who is out shooting wounds her.
She is; however, cured by a magic ring, which enables her to
resume
her human shape during the day. The ring is lost,
and the Prince visits the realms of fishes in search of it, and
18 attacked by a regiment of salmon, lobsters, sharks, and
crocodiles; he is, however, saved by a winged whale. The
Fr inr.ess is restored to humanity and the Prince, and all was
Intended to have ended happily, but alas! for the best in
t
en4ti9ils, the audience were not disposed to let it end
i"PPLIY, and at the conclusion, the sibillation was
„°,i'd and long continued. During the progress of the
v'kee disapprobation had been frequently manifested.
80inetiroes uproariously, at others, in the more an-
rlVlng waly of interjectional observations addressed to the
actors. I ariey, while doing his very best to " make fun,"
Zar! greeted with a cry of " You know it won't do, Harley,"
do you like it, Wielandy" asked a stentorian voice of
`4Le runniest of t,evils in the midst of a storm of hisses. The
eou ho de 9race,
wever, was given when Mrs. Selby, who
!;eted the Black Princess. exclaimed, " These senseless revels
delight me 1,0 t." Such a shout of Hear, hear," was set up
as has nut greeted our ears since the eventful morning when
tis late Ministry were declared to be in a minority of
°as on the' Vote of Confidence question. How is it
titnat this piece, so successful in Paris, should have been so
nsucces-ful in London. Th, scenery was gorgeous, the
ballet pretty, the dre,s-s ,u rb, the mounting perfect. But
while the d alJgue of the Paris piece is full of wit and quid
Pre° quo, amt bits of all sorts, the dialogue of the English
Piz is stale, dull, flat, and unprofitable. After all, the
whether is sometimes a person of greater consequence than
the
generality of managers and actors are disposed to admit.