The Stage was filled by all the Gentlemen who form the Theatrical Society of Kilkenny, and each, as he advanced to speak, was long and loudly cheered; Messrs. R. POWER and W. W. BECHER came forward first, in front of the whole.

EPILOGUE.

Mr. BECHER.

Mr. POWER.

Ladies and Gentlemen, most vain 't would be,
In th' hour of pride, to affect humility;
Yes, I am proud, most proud, while I survey
My enlarg'd dominions, and extended sway;

(Pointing to the splendid Green-Room newly built.) And prouder still to think what stars benign, So thick, so brilliant, on those regions shine; Where one-night monarchs hold their short-liv'd reign, The next fair Venus, and her dancing train.

Mr. BECHER.

Here Caius Coriolanus bends, t' entreat
(A suppliant Candidate,) your "voices sweet ;"
Should you elect him, ever 't will appear,
He held his COUNTRY, than himself, more dear.
Mr. CRAMPTON.

Secure to meet, (whate'er the humble cause,)
Indulgence kind, or more than just applause;
Howe'er each character his parts may suit,
CRAMPTON is always yours, from head to * foot.
Miss. WALSTEIN.

Macbeth's Queen curtsies; nor could Neptune find
Enough to wash your kindness from her mind;
Her vaunting, high ambition here you load,
Ev'n to the top, "with honours deep, and broad."

[The Moderator, and the Leinster Journal, Kilkenny.— FIRST NIGHT.-Monday, September 21st, 1818.]-Our Attic Theatre opened this Evening. The Entertainments attracted a brilliant and fashionable attendance; and we have no reason to doubt, that the season just commenced will afford to the lovers of Dramatic exhibition as ample a variety of exalted pleasures, as they have heretofore derived from the splendid and benevolent labours of our Theatrical Society.

We have formerly noticed the very great alterations and improvements made in the interior of the House since last

season. The separate passages to the Pit, along the Boxlobbies, must afford, on crowded nights, considerable advantages in the management of places; not to say how much the alteration has added to the comfort and uniformity of the House in other respects. The addition of a spacious Green-Room, in rere of the Stage, has also contributed essentially to the general embellishment; and considering the great inconvenience to which the want of such a thing had previously subjected the Performers, it must be with them a luxury indeed. The scenery is almost all entirely new-the Proscenium completely so; and both together reflect great credit, as well on the judgment of the artist, Mr. CHALMERS, as on the taste of the gentlemen who employed him.

Conjecture is afloat to account for this eccentric choice of a central ornament. In the first place, says one, it was put up in compliment to the Mayor; the City Arms belonging officially to him for the time being. The Mayor is charitable, and the Plays are charitable; therefore, the Mayor's seal is charitable; and, therefore, than the Mayor's seal, what could associate better with so charitable an occasion? We will not believe that our TOLL-and-CUSTOMCORPORATION is in favour with any of those distinguished characters who compose the THEATRICAL SOCIETY; but any further inquiry into the subject, whatever local interest it may have with us, would only detain us too long from adverting to the performances of this evening.

They opened with a Prologue, written for the occasion, and delivered by Mr. POWER, of which, we hope to be able to procure a copy. All its patriotic allusions to home, and country, were instantly caught, and applauded, and we have seldom, if ever, heard any Prologue delivered from our Stage, that was received with more general enthusiasm.

The Play was THE WAY TO KEEP HIM, the Farce was THE WEATHERCOCK.

THE WAY TO KEEP HIM is a Comedy of the old school; it was written by our countryman ARTHUR MURPHY, and possesses all those distinguishing traits of excellence requisite to place it amongst the best of our Dramatic productions. The characters require abilities of the first order to sustain them with any degree of success.

That of Sir Bashful Constant is so peculiarly drawn, that very few Actors of the present day have been found adequate to its performance; and we believe this character, since the retirement of Mr. BANNISTER, with the exception of Mr. W. FARREN, has not found an efficient representative on the London boards. It is, therefore, a circumstance that gives peculiar credit to the efforts of Mr. CORRY, in this

difficult undertaking, that his success was as complete, and as decided, as the opinions of the most rigid critics could pronounce it.

In observing on a performance which embraced such varied and brilliant points of comic interest, there is, of course, much difficulty in selecting passages of peculiar merit. We cannot, however, avoid noticing two scenes of the Play, in which the stupid, and incongruous vanity of Sir Bashful is very ludicrously drawn out, and in which Mr. CORRY appeared in decided excellence. The first scene was that, where, in the presence of his servants, he reproaches his Lady for her extravagant propensities, with a boisterous violence which he mistakes for the effusion of independent spirit, but which, on the departure of Muslin and Furnish, rapidly subsides into unexpected tenderness, and, as quickly, in his silly dread of exposure, re-assumes its control over his affections. The second scene which derived a striking interest from the acting of Mr. CORRY, was, as we conceive, when the artifice of Lovemore substitutes a Letter of his own for that in which Sir Bashful had addressed a humiliating declaration of his love to Lady Constant. The ludicrous distress to which the supposed rejection of his proffered love reduces Sir Bashful, was conveyed in a manner irresistibly comic.

We do not hesitate to pronounce the exertion of comic powers, presented by Mr. CORRY's performance, throughout the difficult alternations of feeling which it involves, a finished piece of acting; and this we venture to declare, with the excellency of Mr. BANNISTER'S performance in the same character, full in our recollection.

The Lovemore of Mr. POWER was most excellent. His whole scene with his Lady in the fifth Act was a masterly piece of Acting. We believe his idea of loosening different parts of his dress, previous to retiring to bed, was new; whether or not, it had a most natural effect, and was quite of a piece with the cold indifference, almost approaching to rudeness, with which the negligent husband, absorbed in another amour, might have been supposed to treat a domestic wife in an evening's tête-à-tête. In Genteel Comedy, Mr. POWER has no equal on the Kilkenny stage; his mind is richly cultivated; he studies his author till he embodies every thought of him into what he conceives a fit expression of it on the stage; and his manner, air, appearance, and deportment, carry so much of fashionable life about them, that the whole representation is perfect.

The character of Sir Brilliant is not so well calculated for the display of the excellent talents of Mr. CRAMPTON, as many in which we have had the gratification of seeing him; Sir Brilliant is a man of fashion: but the author meant to infuse into the part a mixture of the petit maitre, the dandy of the old school, Mr. CRAMPTON'S manly figure and general deportment, are better adapted to the forcible delineation of Sir Lucius O'Trigger, than to the foppery and effeminacy of Sir Brilliant Fashion.

Mr. T. Bushe both astonished and delighted the Audience in the character of William; his improvement in air, and the manly appearance which his figure has assumed since the last meeting, were subjects of general admiration.

We congratulate Miss CURTIS upon the rapid improvement she has made in her professional walk. She was an

excellent representative of Lady Constant; her manner was perfectly agreeable and unaffected, and her general performance was marked with good sense and judgment.

The Widow Belmour was performed by Miss WALSTEIN, with all that point, vivacity, and elegance, with which she so ably personates the gay, and accomplished woman of fashion.

Miss KELLY's figure is admirably adapted for the character of Mrs. Lovemore; but she did not seem so perfectly acquainted with the words of the author as on other occasions; this was, perhaps, a defect arising from a first performance, and the hurry of preparation. She often makes a natural point, and this is the more surprising when we consider the systematic affectation of her stage manner. Her truly lovely figure often becomes disagreeable from contortion, and she appears more anxious to preserve, by the constant application of her tongue, “the natural ruby of her lips," than to follow up a just conception of character, with easy and natural action.

Had we never seen Mrs. CLARKE before this evening, her excellent performance of Muslin would have entitled her to our warmest admiration. Mrs. CLARKE has an archness of feature, a richness of humour, and a peculiar naïveté that admirably adapt her for characters of this description."

The Farce of the WEATHERCOCK followed, in which Mr. CRAMPTON gave to the part of Tristram Fickle all the whim, bustle, and spirit of this ever restless and changing character. His performance throughout occasioned universal laughter and good humour in the Audience. Lord MONCK represented the character of the taciturn Lawyer, Briefwit, with considerable effect. The part of Old Fickle was performed by Mr. ROPER, who appeared with more success in it than his youth and figure would have allowed us to expect.

[SECOND NIGHT-Wednesday, September 23d, 1818.]The Performances of this Evening were CORIOLANUS and THE LIAR.

The excellent manner in which the interesting Tragedy of CORIOLANUS was got up, and performed, justifies our warmest commendation.

Mr. BECHER, the Hero of the Piece, was greeted, on his appearance, with an ardour of welcome, as creditable to the Audience, as it must have been gratifying to the Performer.

Mr. BECHER'S merits have long been known, and highly appreciated by the distinguished visiters at our Theatrical carnival, and never, we believe, was he seen to greater advantage than on this night. In figure, and in manner, we do not think that the Stage of the present day can offer a better model for the representation of the high-minded Roman, than was given in the person of Mr. BECHER. His delivery was bold, and animated, and the Audience were loud in their applause.

In the last Act, and in what we conceive the grand scene of the Play, Mr. BECHER rose to a pitch of excellence which could not be surpassed. The manner in which the

following lines were delivered, on the approach of his mother with his wife and child, on whose intercession hung the fate of Rome, was quite masterly:

"My wife comes foremost; then the honour'd mould
Wherein this trunk was fram'd, and in her hand
The grandchild to her blood. But, out, affection!
All bond and privilege of nature, break!

Let it be virtuous to be obstinate.-(VIRGILIA bows.)
What is that curt'sy worth? or those dove's eyes,
Which can make gods forsworn? (VOLUMNIA bows.)
My mother bows;

As if Olympus to a mole-hill should

In supplication nod: and my young boy
Hath an aspect of intercession, which

Great Nature cries, "Deny not"-Let the Volscians
Plough Rome, and harrow Italy;

I'll stand,

As if a man were author of himself, And knew no other kin."

The effect produced by the group was greatly heightened by the happy manner of the lovely child who personated the character of Young Marcius, Master GUSTAVUS DALTON. The attention paid by this fine boy to the business of the scene, was scarcely to be expected in one of his tender years, and excited an uncommon degree of interest.

The climax of excellence in Mr. BECHER'S delineation of this difficult character was the burst of passion at the taunting of Aufidius. The sensation which the acting of this scene created throughout the house is indescribable. It is impossible to conceive any thing more animated than the manner in which Mr. BECHER delivered the following speech, after the reproach of Aufidius on proclaiming him "a boy of tears." His whole soul starting into his eye, and indignation flashing in his face, he exclaims

"Measureless Liar! thou hast made my heart
Too great for what contains it.—Boy!
Cut me to pieces, Volscians, men and lads,
Stain all your edges in me.-Boy!

If you have writ your annals true, 'tis there,
That, like an eagle in a dove-cote, I
Flutter'd your Volscians in Corioli:
Alone I did it."---

The burst of applause that followed this speech equalled any manifestation of feeling we ever saw evinced at our Theatre. In short, Mr. BECHER'S Coriolanus may be considered a chef d'œuvre, and we have great pleasure in giving our tribute of approbation to the complete success of his efforts in a part of such extraordinary difficulty.

Of Mr. POWER's Tullus Aufidius it is only necessary to say, that it was marked by all the nicety of discrimination, and accuracy of judgment, with which this Gentleman portrays the characters of our immortal poet. The grand effect of the last Act was considerably heightened by his perfect representation of the Volscian General.

The minor characters of the Play were, in general, well supported. Mr. CRAMPTON, who excels in every performance of the manly kind, was an excellent representative of

the hardy leader of the Roman Citizens, and his description of the manner in which Coriolanus asked and received" the voices of the people," was most appropriately given. Mr. ROPER was very correct in the character of Menenius, and was justly applauded. Mr. R. LANGRISHE shewed strict attention to the spirit of the Author, and very creditably sustained the character of Volusius. Sicinius and Brutus were performed by Mr. R. POWER, jun. and Mr. R. ROTHE, in a manner that clearly indicated great promise of future excellence. Mr. ANNESLEY, whose preparation was unavoidably very brief, delivered several speeches of Cominius, particularly his Address to the Senate, with a soundness of discrimination, and justness of emphasis, that made us regret he was not equally perfect in the less important dialogues of the Drama. We hope we may be permitted here to recommend most earnestly to the younger branches of our distinguished association, to study, as models for their imitation, the highly gifted individuals who first promoted the establishment of our Theatrical Society, and to whose unwearied exertions to prepare themselves for whatever they undertake, is to be attributed the high character of our Institution, in the fashionable and Theatrical world.

There is little scope for a display of talent in the female characters of this Play, except in that of Volumnia, and to this Miss WALSTEIN gave all the characteristic dignity and feeling of the Roman matron. Her performance in the last scene was particularly interesting, and drew forth the warmest plaudits. We cannot speak in the same terms of Miss KELLY'S Virgilia. This character, though trifling in itself, may receive an interest from the performer which was not imparted to it by Miss KELLY. Miss KELLY's tenderness seemed more to express the sickly love of a Boarding School Miss, than the dignified affection of the Virgilia of Rome. She certainly possesses great qualifications for the Stage, and if she could be induced to divest herself of a manner bordering upon affectation, her performance would be much more pleasing.

In the Afterpiece of THE LIAR, Mr. POWER personated the character of Young Wilding with a spirit and vivacity which delighted the Audience. He seemed in high spirits, and this was sufficient to impart pleasure, and diffuse good humour, through the fashionable assemblage which filled the House, to whom that circumstance alone would be a source of unmixed gratification. The Papillion of Mr. CRAMPTON was excellent throughout; and Mr. CORRY gave to the indifferent character of Old Wilding, an importance which we thought it was incapable of receiving, The scene between Young Wilding, Papillion, and Old Wilding, in which the former tells the story of his trumped-up marriage, was as well acted as it could be on any Stage, and had a powerful effect on the risible faculties of the Audience. We thought we should have died with laughing at the marvellous narrative about the Cat, and the stupid credulity with which it is received by the old Gentleman. Mr. R. ROTHE performed the part of Sir James Elliot with an ease and animation which would have been creditable to the veterans of the Stage. His handsome appearance, and gentlemanly deportment, had their due share of interest with the Audience, particularly with the lovelier part of them.

[Thursday, September 24th, 1817.-THEATRICAL SOCIETY BALL.-There was a Grand Ball at the Theatre this evening, and the spectacle was one of the most enchanting ever witnessed in Kilkenny. Scarcely any person who visited the Theatre on last night would have imagined it possible that the interior could have undergone such a transformation by to-night, and without interrupting the rehearsals.

The Pit was completely covered over on a level with the Stage, as neatly, and firmly, as if intended for a permanent Ball-room. The Stage wings were removed, leaving not a trace behind; and the GRAND SALOON, in the rere of the Stage, erected in the course of the present year, was completely thrown open, the whole forming one long, and splendid room. The House was brilliantly illuminated; the magnificent and costly lustre, suspended in the centre of the Saloon, was lighted up, and the coup d'œil, after the promenading had commenced, was quite charming.

The Ball was opened by RICHARD POWER, Esq. and Miss KAVANAGH, of BORRIS. If possible, the fascination of the scene was enhanced when the Country Dances were relieved by Quadrilles, as the greater number of those who did not "trip it on the light fantastic toe" retired to the Boxes, giving to the whole an expansion of scene, and a diffusion of beauty, elegance, and taste, sparkling with magnificence. The plan by which the Theatre may be converted into a Ball-room is certainly one of the most useful and ingenious improvements that have been made since the last season; and we understand that Mr. ROBERTSON has so simplified and perfected the plan, that his men may, at any future time, transform it either into a Ball-room, or a Theatre, in one hour! It is needless to dwell on the pleasures of the Evening. The Quadrilles were regulated by the Messrs. SIMON, from Dublin, who attended to give out the changes, and direct the Music. The entire Band of the 44th Regiment, in full dress, was placed in front of the Lettice-Circle, and played during the intervals of the Dance with delightful effect. The company did not separate till three o'clock in the Morning.

MISS STEPHENS.

The Visiters of KILKENNY will learn with considerable pleasure that Miss STEPHENS will arrive in Town on Sunday, and intends to add the charm of her vocal powers to our Dramatic Entertainments.-This justly celebrated Singer is to grace our boards on Monday Evening. She will appear in the interesting character of Margaretta, in No SONG NO SUPPER; and will also perform on Tuesday Evening the part of Ophelia in HAMLET. We congratulate KILKENNY on this accession to the amusements of our Theatrical meeting.

[THIRD NIGHT.-Friday, September 25th, 1818.]-We derive considerable pleasure from observing with what decided success the performances of our Theatre, since the commencement of the present Season, have been distinguished. Indeed, when the various and discouraging circumstances which must necessarily incumber the exertions of our Theatrical Society are considered, the precision and completeness with which every thing is executed, cannot but occasion surprise. The Gentlemen of the Theatre are

exposed to perpetual interruptions, and the consequent difficulty of completing a united preparation, must formidably embarrass their exertions. The very brilliant success which has attended our Performances is, therefore, the more creditable to their talents and assiduity.

The Comedy of THE SCHOOL FOR SCANDAL, and the Farce OF AGE TO-MORROW, were the Performances of this Evening.

The Sir Peter Teazle of Mr. CORRY presented a most effective display of those ludicrous peculiarities, which are united in that eccentric character. The ridiculous uneasiness, the whimsical weakness, the foolish love, and the imbecile anger of Sir Peter, were happily conceived, and represented with the full force of skilful contrast. It was not by the agency of those gesticular extravagancies, with which inferior Actors perpetually distinguish the varieties of opposite feelings, that Mr. CORRY drew out this admirable picture of ridiculous infirmities. His countenance can at all times convey the exact expression of distinct affections; and the laughable transitions of passion, which so ludicrously mark the character of Sir Peter, in his interviews with Lady Teazle, were managed with consummate discrimination. In his scene with her Ladyship, when their matrimonial strife is subdued to the endearments of a momentary reconciliation, the acting of Mr. CORRY teemed with a luxuriant humour.

The feeble, but significant eagerness of his caresses, his chuckling smile, and amorous gaze, were depicted with complete propriety, and excited loud and continued bursts of merriment. In the closing part of the same scene, when habitual discord resumes its influence over the lately happy pair, the returning anger of Sir Peter was humorously developed in the gradual elevation of his voice, and the ridicu lous agitation of his person; and when at length this breach of domestic quiet seems irreparable, the tone and look with which he vows to make "an example of himself for the benefit of all old bachelors," were admirably expressive of inconsiderate resentment. On the discovery of her Ladyship's concealment behind the screen, his surprise was marked with peculiar force, and nothing could more exactly reveal the agitated condition of his feelings, than the look with which he accompanied the exclamation,

Lady Teazle, by all that's damnable!" In the preceding part of the scene, when in conversation with Joseph Surface, his performance developed with considerable effect, the unbounded and honorable liberality of spirit, which, with all his whimsicalities, enters into the character of Sir Peter. We cannot treat, as perhaps we ought, this excellent performance as it deserves, by marking out passages for particular admiration, for we own that we were delighted with the entire acting of Mr. CORRY.

Mr. BECHER played Sir Oliver Surface. The tragic line of acting in which this gentleman so eminently excels, calls for peculiar attributes which are with difficulty made to accord with characters of comic expression; and we were, therefore, not a little surprised to see that the successful representative of Coriolanus was so well, in so very different an effort of Dramatic taste.

Mr. ROTHE, as Joseph Surface, made his first appearance at our Theatre since the commencement of the pre