The Sun. — 1824-06-05 (London, England)

DEN.-After the last new piece of Charles the Second, another new piece was brought forward under the title of The Custellan's Oath. The following is a brief outline of the plot  Winceslaus (Mr. Chapman) has usurped the throne of Po- I land, and imprisoned his nephew, the deposed Prince Albert (Mrs. Vining) in the caStle-orZcidiski(llr. T. P. Coke); the Castellan of Lemberg. Albert escapes, and the King visits the Castellan, in order to ascertain that the Prince is in safe keeping. The Castellan is believed to have betrayed his trust, and ordered for execution; at the moment, Albert returns,and preserves his life. A plot has been formed to give the young Prince liberty and his kingdom, and the usurper extorts from the Castellan an " oath" to stab his prisoner if any attempt were made to rescue him. This oath gives the piece its title. Adolpha (Mrs. Faucit), the wife of the Castellan, ,enters the dungeon to enable Albert to:escape, and she is followed by her husband, who hears the alarm of " !fescue !" and rushes to stab the Prince and fulfil his oath. Adolpha interposes, and wrests the dagger from his hand. The imurgpits break into the dungeon, declare that the tyrant is their prisoner, and proclaim 44 Albert, Poland's g The play then, of course, concludes.  There is nothing ;n this piece which distinguishes it from most of the same description which • have appeared under the modern designation of Melo-drama. It is, indeed, " among the ordi- ' nary of Nature's sale-work ;" but, to adopt another has no offence great Bard, " the argumentin it." It is not devoid of expression of our st, and well calcnlated to please the imnitxeeredaudienis y w usually attend the Theatre, audience who if it possesses no pretensions for critical acumen, and elaborate examination. It should not, howwithout critical observation, as ever, pass wholly it is brought forth at one of the Patent Theatres. The Castellon, is inconsistent. Fi of him, previous to his appeara't'lircloeenl,cwi:eliitellfievries atrreraeacsptooetr:t'to believe that he is an amiable Nobleman, but he is loyal to one whom he knows to be an usurper, and has in his keeping the lawful heir to the Crown, whose life he is vv, yet after some virtuous anxious to preset' struggles, he takes an oath to the usurper to murder that lawful heir, if any attempt should be made to rescue him, or if he should endeavour to escape, and he is actually going to murder the Prince, and is only prevented by the Countess, who prevents the blow, and struggles with her to effect his purpose. The attachment of the Countess to the Royal prisoner seems to go beyond the limits of mere humanity, and may be supposed to arise from feelings not exactly consistent with conjugal duty, though she avows affection for her husband. The escape of the Prince, his re-capture, his second escape, and his heroic return to save the life of the Count, are among the usual incidents of such compositions. Yet, as we have said, the Piece altogether is not tbeenctaeues_ me void of interest, and, as we have also said, we are induced to offer these aniat remarks merely The performers, particularly of the PaT. P. CooKt, gelmmesnt.the sanction c nApMAN) Donusur, BLANCHARD, and Mrs. FAUCIIT, gave a strong support to the piece, which during its progress and to its termination passed off with the full assent of a very numerous audience. Report assigns it to several , of the usual providers of melo-drame compositions for both Theatres, but " the election seems to light " Mr. Wm. upon a KER• It was announced for repetition on Tuesday next, without , any noticeable opposition.