The Sun.
London, England, 1829-04-21 00:00:00

COVENT-GARDEN.

A new melo-dramatic and musical romance, en-
titled The Devil's Elixir, adapted from the strange
rambling tale, half talent, half trash, of the same
name, by HOFFMAN, was produced here last night.
The idea is taken from the old belief in shadows, to
the effect that a man without a shadow is under the
dominion of sorcery. The plot is somewhat intri-
cate, and turns chiefly on the intrigues of Francesco,
a Capuchin monk, (Mr. WARDE) to possess himself
of the person of Aurelia (Miss HUGHES), who is the
betrothed of his brother Ilerniogen (Mr. WOOD.)
Francesco, unfortunately for himself, has the custody
of the convent relics, among which is a flask, con-
taining the Devil's Elixir, which enables the person
drinking it to assume the shape of his rival, and be
damned in consequence. Francesco's hopeless pas-
sion induces him to drink this potion ; the • conse-
quence of which is, that he is at once en-
abled to assume the place of his brother.
In this disguise he is about to be married
to Aurelia, when Nicholas (KEELEY), the
bell-ringer of the convent interferes, and -discovers

the imposture, by proving that Francesco has no
shadow. He is consequently borne off as a sor-
cerer, arid while confined in the belfry of the con-
vent is visited by the demon, Who offers him free-
dom arid Aurelia if he will ratify the compact. He
consents, and the terms are, that if he shall, of his
own free will, refuse the lady's hand, she being
ready to marry him, before the clock strikes eight,
the demon shall claim Francesco as lios own.—
As soon as the Monk consents, the demon trans-
ports Hermogen and Nicholas sleeping to the bel-
fry, and Francesco to the lady's castle. Every
thing is once more ready for the impostor's mai,
riage, and the bridal prozession is approaching
the shrine of St. Anthony, when Herntogen7,
who has escaped, again comes to interrupt the ce-
remony. He is now less successful, and as he is
about to be carried to the stake for the purpose of
being purified by fire from his supposed offence, he
makes a passionate appeal to his brother Francesco.
The better feelings of the latter triumph,—he resigns
his bride—the clock strikes eight, and the demon
claims his prey. At this critical moment the victim
recollects it is the Eve of Allhallows, at which time
no unholy spirit can approach the shrine of St. An-
thony. Thither he flies for protection; the fiend
attempts to follow him, but is struck into the earth
by a bolt from Heaven. The whole building is di
molished and disappears, and a clear tranquil land-
scape is seen in its place. While the wedding-party
are wrapt in consternation, Francesco appears in his
monastic habit, and accounts for his absence by saying
lie has been on a pilgrimage. Hermogen and Aurclia
are united, and Francesco retires to expiate his
crimes and testify his gratitude by a life of penitence.
The mechanical contrivances of this piece, as also
the scenery, are of a high order of excellence.
There is a perpetual recurrence of incident too
throughout the drama, which gives it lightness and
variety to a degree that we do not often witness.
The music is by Mr. RODIVELL, and is pretty, with-
out being remarkable for spirit or originality. The
house was crowded, and the performance from first
to last received with great applause.