1825,] 
but it is a pity that she should not acquire 
a little more ease and grace of deportment, 
and a little more animation. The musical 
farce of Youth, Love, and Folly, is a pleasant 
trifle that has been completely successful. 
A comedy in two acts, called Zribula- 
tion; or, the Unwelcome Visitors, evidently 
of the same school with Simpson § Co., 
(and, though not equal to its predecessor, 
very highly amusing), has been effectively 
sustained by the united talents of Dowton, 
Vining, Mrs. Davison, and Mrs. Glover ; 
but the novelties at this theatre have been 
too numerous to admit of our going into 
deiails. 
As Miss Hardcastle, in She Stoops to 
Conquer, Mrs. Humby has not been as 
successful, as in her other efforts. 5 
In The Road to Ruin, even Dowton’s 
Old Dernton shewed us that there are 
some characters in which the vacated place 
of our old favourite, Munden, cannot be 
supplied; and Vining, as Young Dornton, 
though there were some fine bursts of 
energy in the scenes of distraction and ine- 
briation, evinced that he is not yet as equal 
to the higher, as he is to the more eccentric 
cast of comic character. In the Widow 
Warren, there is too much remoteness 
from the gentlewoman for Mrs. Glover's 
happiest vein. Russell’s Goldfinch was 
a cold and laboured imitation of Har- 
ley; so close indeed, in some instances, 
that it wanted nothing of Harley but his 
good-natured, self-satisfied ease. But 
Harley’s easy self-satisfaction is the life 
and charm of every thing be does: he 
does not play a character, indeed, but he puts 
his own in the place of it ; and his whim and 
humour flow from him as if he could not 
help it. Mr. Russell seemed always to be 
straining for it, and consequently always to 
be short of the mark. His very countenance 
seemed as if he were studying how Harley 
would have looked and moved: how he 
would have poiated the jest or spoken the 
line. Little Miss P. Glover’s Sophia was in- 
teresting, and commanded by far the largest 
portion of the applause of the evening. The 
character was never more completely looked, 
and seldom has been better played. The 
only fault was, that she occasionally, even 
to the very tones of her voice, reminded us 
too strongly of Miss S. Booth. A little of 
the copyist may, however, be excused in 
50 young a performer; but let her not suffer 
it to grow into a habit: those garments 
generally sit easiest and most gracefully 
upon us that have been fashioned to our 
own proportions. 
_ The introduction of The Lady and the 
Devil on these boards, introduced also Mrs. 
Waylett, in the character of Zephyrina ; 
who was received with éclat, and gave to 
it, both in action and song, some grace and 
harmony, and its full share of arch vivacity. 
P, Farren in Wildlove, had, as usual, 
sprightliness and self-possession in abun- 
dance; and, in spite of his red-hot brogue, 
Theatrical Review ; and Music. 
463° 
would bustle himself into no small degree 
of favour, if he would but take the pains to 
make his speech a little more intelligible, 
and not let it bubble out of his mouth in 
spirts, like water from an oyer-boiling tea- 
kettle. We see no objection to Wildloue’s 
throwing a little of the tone and manner of 
the Emerald Isle into his gallantry; .but 
surely it is not necessary, because a gentle- 
man happens to have an Irish accent, that 
therefore he should have xo pronuneiation. 
Shakspeare’s delightfully romantie and 
pastoral drama, As you Like It, in its new 
State of half-musical metamorphose, per- 
formed here on the 23d, gave Madame 
Vestris an opportunity of playing off her 
witchery in the part of Rosalind ; a cha- 
racter to which, if she would chasten her 
style a little in some of the passages, no 
actress now upon the stage couldgive equal 
charm, But it should be remembered that 
Rosalind, though indulging occasionally in 
a little of the merry license of an age of less 
refinement than the present, is still a cha- 
racter of perfect purity. If the Cuckoo 
Song be objected to this remark, we have 
only to answer that it is a modern intro- 
duetion, and does not belong to, nor cor- 
rectly consort with the original character. 
—=_>-—— 
NEW MUSIC. 
Abon Hassan. Cleinentiand Co.—We are 
enabled this month to conclude our notice 
of the opera, which was not published in 
time for our last. The overture is light and 
characteristic, and, as arranged for the piano- 
forte, forms ‘a very pleasing and practical 
lesson. ‘The opening subject and the first 
chorus are precisely alike: we suspect the 
author has reversed the usual order of 
things, and that the overture was the 
original production. ‘ The Bird whose 
Song of Gladness,”’ sung by Miss Grad- 
don —a Siciliano movement bears some 
resemblance to a quartetto in ‘‘Ji Se- 
raglio,” and a still stronger similarity to a 
duet of Storace’s in ‘‘ Doctor and Apothe- 
cary,’ so marked indeed that were it at all 
probable that the English operetta could 
have met Weber’s eye, we should at once 
have pronounced it a plagiarism. This is 
followed by an Allegro Mod. which, as a 
yocal composition, cannot boast of much 
originality, but the violoncello accompani- 
ment is very beautiful and ingenious. 
Chorus, “ Pay ! pay ! pay!” :-—if we might 
give so sweeping an opinion, we should say 
this is the only composition in the opera 
worthy of Weber's genius. It is highly 
characteristic and original. The tenor solo, 
with subdued chorus, is excellent of its 
kind. ‘“ Wine, my fairest,”—is tolera- 
bly effective in performance ; but as a 
chamber duet, it is, generally speaking, 
very uninteresting. The subject of the, 
eyerture and chorus is again introduced, 
here, but does. not seem applicable to the 
seene or poetry. ‘The best song and duet 
in 
