1829.] - Theatrical Matters. 315 



the country ladies have been so severely washed at the race balls, and the 

 world, in general, is so vluviose and cloudy, that we are inclined to think the 

 Adelphi would have been as good a treasury as the provinces to those enter- 

 prising and merry persons. But they still have to encounter water ; for M. 

 Laurent summonses them to Paris, where they are engaged at the particular 

 request of the new Ministry, to take off the edge of the public wrath against 

 the turners out of the liberals. 



Price generally contrives to open with a lion. The royal beast on this 

 occasion is to be yoimg Charles Incledon, son of the celebrated English melo- 

 dist, who will make his first appearance on any stage, at Drury Lane theatre, 

 the first week in October, in the character of Young Meadows. There is the 

 strongest possible resemblance both in person and features between this youth 

 and his father, when the latter was in the prime of life. Young Licledon is, 

 we understand, married to an amiable Iddy, and is exemplary as a domestic 

 riian. The only fault about him is said to be his extreme diffidence. Time 

 will cure him of that. 'We hope his likeness to his father is stronger in his 

 voice than in his diffidence. Old Charles never suffered under the imputation 

 of any weakness of the khul. Of all men living, he had the highest respect 

 for his own merits. ^V'hen the O.P. row commenced at Covent Garden with 

 abuse of Catalani's engagement, and a demand for " native talent," Incledon 

 could not suppress his indignation at the preposterousness of the cry. 

 " Native talent !" he would exclaim, as he paced furiously behind the curtain, 

 and heard the thunders of the population beyond ; " Confound the fools, 

 what do they want — native talent ! is not Charles Licledon here ?" 



The second German opera at Arnold's theatre is the " Vampire," founded 

 on the story of a AVallachian nobleman's selling himself to the fiend, and being 

 allowed a respite only on condition of sacrificing a female before a particular 

 hour. The music is bold, various, and learned, and the performance alto- 

 gether interesting. The translation is by Planche, and managed with his 

 usual cleverness. The opera is popular. 



A fierce newspaper controversy has been started, from assertions relative to 

 the Covent Garden patent, — some saying that it must lapse if the theatre is 

 not opened hi the beghming of the season. The facts are, however, these : 



Charles XL granted to Tom Killigrew, and to Sir W. Davenant, (who had a 

 grant from Charles L in 1639) full power and authority to collect two com- 

 panies of players, and to purchase, build, and hire two theatres, for the repre- 

 sentation of tragedies, comedies, operas, &c. The grant was dated August 

 21, 1660, and was for their personal advantage. Davenant's was called the 

 Duke of York's company, and Killigrew's the King's. The latter commenced 

 at Drury-lane in 1663. Davenant continued at Dorset Gardens. In 1682 

 there was a junction of the companies, and both patents lapsed into one, 

 under the name of " His IVlajesty's Servants." In 1714, George I. granted a 

 licence to Steele, ""IVilks,' &c., to establish Drury-lane Theatre. This was 

 revoked by the Lord Chamberlain in 1719, since which time both theatres have 

 continued to act by sufferance only. Drury-lane licence commenced in 1816, 

 and ends in 1837, 300/. a-year being paid to Mr. Mash. The " act of patents" 

 prohibits a grant for more than 21 years. 



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