172 The Theatres. [ Fes. 
and produced” by Mr. T. Dibdin. It is entitled, “Harlequin and Jack the 
Giant-killer, or the Golden Castle.” Gaffer and Gammer Goodenough, the 
father and mother of Jack, are discovered in their cottage, counting the chimes 
of the village clock. It is getting late. ‘They are in great distress about the 
absence of their boy ; but a voice bids them be of good cheer ; and when they 
ask, why ? a cuckoo from the top of a clock, in the corner, sings, “ Because a 
fairy will return him safe and well before midnight.” But at this moment, 
thunder increases their alarm. They talk of three giants that are abroad, and 
more to be dreaded than even thestorm. One of these giants, Galligantus, has 
an establishment in the neighbourhood, ‘‘ The Golden Castle,” and is a monster 
of peculiar terror. In a facetious song, perfectly a Ja Dibdin, which is given 
in the course of the piece, he is said to be so tall, that, when at church, he 
hangs his hat upon the steeple: that he makes the Monument his walking- 
stick ; and once stepped over Waterloo Bridge, to save the toll: that his face 
is so broad, that when one eye is at Drury Lane the other is at Vauxhall: 
that, being locked out one night, he put his hand down the chimney and 
opened the street door: .that, although he looks like a Hy-man, yet he was 
once unfortunate in a hymeneal attempt; and, on that melancholy occasion, 
with a couple of his gentlest sighs, “ he drove two vessels out to sea, and sent 
one plump ashore !” 
Of the more rational novelties, Drury Lane has produced a tragedy, since 
Christmas, and Covent Garden an opera. Both have been successful, 
The tragedy at Drury Lane appeared on Monday, January 12. It turns 
on the subjugation of Wales by our first Edward. 
There is considerable intricacy and interest in this plot; but the excess of 
intricacy is its fault. The language is smooth ; but the style does not vary with 
the speakers. Mr. Walker, however, may be satisfied. Nothing could have been 
more warmly applauded ; and for the applause of the million it seems to have 
been written. Still, mere plot seldom carries a play over a season. Even 
those who are most strongly wrought upon by striking adventures, care little 
for them after they once knew. their end. Who reads a circulating library 
novel twice? It is only when blended with striking and obvious character, 
that interest has a sterling and enduring value. Young performed Caswallon. 
He was powerful, and always full of meaning. May we venture to suggest, 
that the enunciation of Miss Phillips would be much the better, if she would 
get rid of an awkward habit of dwelling on the letter s, especially at the end 
of sentences? Her Eva was often picturesque, sometimes touching, and 
never unattractive. 
The opera at Covent Garden was produced on Thursday, January 16, 
“The Nymph of the Grotto, or, The Daughter's Vow.” It was much 
applauded. Madame Vestris, Fawcett, Miss Jarman, Mrs. Gibbs, Mrs. 
Chatterly, Mr. Wood, Mr. Bartley, and Miss Cawse, were all in it, and all 
did their best, with such opportunities as were given them. A Mr. Stansbury 
made his first eppearance in it at this theatre. He was encouragingly received. 
If his powers were as high as his shoulders, he would make Braham tremble. 
Madame Vestris sang delightfully. Two songs by Wood, are the best—one, 
on “ Time,” is likely to become popular. The music of the piece is the joint 
work of Liverati and Lee,—this song, of ‘‘ Time,” belongs to Leée’s share. 
The dialogue is generally ostentatious ; and even Fawcett is made to talk in 
long and lofty sentences. 
Mr. Dimond takes to himself the praise of exclusive originality in his story. 
“Tt is,” says he, “neither a translation, nor an adaptation from the stock of 
any foreign stage.” But he is mistaken in fancying this confusion of the sexes 
entirely his own. With the recent story of the female husband, whose wife, 
a new wonder of “ woman’s love,” puts patient Grizzle out of countenance, 
the possibillity of long concealments of this sort ceases to be questionable. 
But such an incident has been used more than once upon the stage; ay, and 
in the “stock” of more than one “ foreign stage,” too, in the same way in 
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