by the Baron, introducing to his hospitality a count Rigolio, as being an accomplished and honourable man. A festival here is introduced, in which is seen a monument, surmounted by the bust of Luneda, with songs and dances, &c. Claudio, a relative, and Rigolio, his friend, now appear. The name of Myrtillo, who was supposed lost, is accidentally heard by Rigolio, and having learnt he was still living, he manifests extreme purturbation, and at the sight of Luneda's bust, becomes shocked, and sinks paralized with his emotions. On his recovery, he is alarmed by being informed that Myrtillo was struck dumb at the time of his father's murder, but that medical men had predicted that on some violent revulsion of nature, his speech would be restored Myrtillo appears at a distance, and Rigolio having cast a glance towards him, shudders with horror, and contrives to escape, just in time to avoid his eyes. This concludes the first act.

'The 2d act discovers Rigolio descending the crags of the mountains, and repeating to himself that six years before he had assassinated the count, but, that his son, who was with him, glided from his grasp, and escaped; that he had hoped all was safe, and that the fatal secret remained undiscovered; but, should he meet the boy all would be lost; concluding, therefore, that he could only trust to flight, he had accordingly had recourse to it, but had got lost among the precipices. As he is searching for a guide, he meets Estevan, and both are struck with terror; Estevan supposing he was discovered as a galley-slave, and Rigolio as a murderer. However, both recover their speech, when Estevan informs him he had been accused of murder and condemned to slavery, and requests Rigolio to take him with him to France. The latter then proposes to him to return to the chateau, assures him, that there he will be protected, and engages to write a letter to his friend Claudio for such purpose; but gives him one, enjoining that he should be secured as the murderer of count Luneda, promising that to-morrow he will appear and elucidate every thing. Estevan, overcome with surprise, is about to be dragged to prison, when the boy Myrtillo, appears, and declares his innocence. A thunder-storm comes on, and the baron, with his servants, go in search of Claudio, in the mountains, whither he had gone to procure the officers of the police. Scene 3, discovers a foot bridge across a torrent. Myrtillo snatches a torch and darts up the path, Estevan at a distance behind, when Rigolio suddenly appears, and, with his sword, strikes the torch from Myrtillo's hand, seizes him on the bridge, and thrusts him into the torrent; Estevan plunges after him, and succeeds in saving him. He then becomes the accuser of Rigolio, who, thinking the

boy destroyed, returns to the castle. He informs us that Mrytillo had traced with a pencil the circumstance that he had been struck in the dark by some one with a sword, that broke in giving the blow, and that the broken piece had been found, and would, if it matched with the other part, discover the assassin. Rigolio, drawing to stab Estevan for his bold accusation, discovers The Broken Sword, and at that moment, Myrtillo suddenly is restored to his speech, and accuses his father's murderer to his face, who sinks down convulsed, under Myrtillo's grasp, and the curtain falls.'

The piece was sustained by nearly the whole strength of the company, and was received by the audience with decided approbation. Mr. Simpson's personation of Estevan was impressive throughout. His trepidation on his first appearance, his dismay at his rencontre with Rigolio in the wood, his speechless despair in discovering his treachery, in decoying him to the castle to be apprehended as the murderer of Luneda, and his intoxicating joy at the unexpected vindication of his innocence by the recognition of Myrtillo, appeared, all of them, to be the emotions of nature. His habiliments corresponded well with his wretched condition; except that there was rather too much glitter in his polished steel buttons. He did not discover that voracity at the sight of food, which we should have imagined three days ravening with the wolves' would have excited. Indeed, he seemed quite to have forgotten his situation,

Mr. Hilson adapted himself remarkably well to the hearty, blunt, and honest character of Capt. Zavior. Mr. Pritchard played Rigolio with judgment, and with more animation than he usually exhibits. We have seldom seen Mr. Barnes play better than in Pablo. Mrs. Barnes in Myrtillo, was irresistibly charming. Her appearance was lovely, her action easy, appropriate and eloquent.

Wednesday Evening, April 30. What's Next.-Broken Sword.—Children in the Wood.

The prelude, which is the only one of the above pieces, which we have not already noticed, is not entitled to particular remark.

Friday Evening, May 2.

Frederick the Great.-Broken Sword. The opera of Frederick the Great, is a mere jumble of incidents and characters. We know, that the court of Prussia, if not in Frederick's time, at least in his father's, was excessively gross in its manners. In that respect, the author has been faithful in his representation. But we question, nevertheless, the merit of his picture. It has no more of life in it, than the painting of a rail fence

Saturday Evening, May 3. The Robbers.-Ninth Statue. We have already expressed our opinion of this German tragedy. As a proof of the good taste of the public, we were glad to see so thin a house.

Monday Evening, May 5. Wild Oats.- Broken Sword. The principal humour of this humorous comedy of O'Keefe's, consists in the ridiculous light in which it exhibits one of the most inoffensive religious sects in the world; we mean the Quakers. There are in this people, such traits of sterling worth, that we easily forget on acquaintance, the ungainliness of their exterior; and it is with extreme regret that we see the peculiarity of their manners held up to derision. We are far from thinking that their formality and their precision prove their piety, but they are not inconsistent with it. We are not ignorant, that an eloquent poet and divine, has pronounced 'solemnity a coon for a sot,' but we do not consider laughter, however it may grow out of the sentiment of superiority, (for so the philosophers will have it,) any evidence of the fact. It is generally true, that

'One fool lolls his tongue out, at another, 'And shakes his empty noddle at his brother.' Mr. Robertson in Sim, showed a comic turn, that agreeably surprised us. We would recommend it to him to cultivate his talents in that line. We have before noticed, with pleasure, his ease and pungency in genteel comedy. Mr. Simpson in Rover, and Mr. Darley in Harry, were so rapid and indistinct in their enunciation, that they were rarely intelligible. This is a general fault with both these performers; and is not peculiar to them. Mrs. Darley was modest, unaffected, and engaging, in Lady Amaranth.

Wednesday Evening, May 7. Virgin of the Sun.-Sleep Walker. This play is much inferior to Pizarro. Indeed, we thought it mighty dull. The only scenes, the interest of which dwells in our remembrance, is that in which Rolla discovers the preference of Cora for Alonzo, and generously sanctions their affiance;-and that in which he interposes to their rescue from the death to which they were doomed, at the hazard of his own life. The first was

impressively performed by Mr. Simpson as Rolla, Mr. Pritchard as Alonzo, and Mrs. Barnes as Cora-in the last, Mr. Simpson gave effect to Rolla's eloquent appeal to the soldiery, and Mrs. Barnes did justice to Cora's patriotism and pathos.

Friday Evening, May 9.

Exit by Mistake.-Woodman's Hut. This is a new Comedy, which has little besides novelty to recommend it. There is either a terrible dearth of new dramatic productions of merit, on the other side of the water, or a want of due discrimination in the managers on this side. The plot of this piece is as flimsy and improbable as could have been conveniently constructed. Mr. Roland, who had been many years in India, where he had amassed a large fortune, which he had carefully remitted to his early crony Jack Straw, having accomplished at last, his objects abroad, sets out on his return to England. A report, however, of his death, had preceded him, and reached the ears of his correspon dent and friend Jack, who, as executor to his will, immediately informs, by letter, Mr. Restless Absent, nephew to Roland, of his Uncle's decease. This hair-brained youth, incontinently' hurries to touch his windfall; and by chance, becomes the compagnon de voyage, in the stage coach, of Mr. Roland, who, in the mean time, had safely landed, and, little expecting death, was preparing to take into possession the means he had accu mulated, whereon to live. Jack Straw had, however, by some means, discovered his mistake, and heard of the approach of Roland, he accordingly hastens, with all expedition. to the Hotel of the human race,' (as it would seem from its pretensions,) and very naturally mistakes a young, dashing, American actor, by the name of Rattle Trap, for his old friend, and bosom companion. On this unaccountable deception, of which Rattle Trap is entirely innocent, hinges the whole interest of the piece. This comical incident, so ingeniously contrived, is awkwardly kept up by a kind of cross-reading in the conversations of the different parties afterwards, till when, the proper period for an ecclaircissement ar rives, in the fifth act, the mystery is cleared up. The stale conceit of setting two people to talking upon two different subjects in such an equivocal manner as to be liable to such interpretation as each is prepared to give, is resorted to, by way of seasoning, if not in every scene, at least in every act. As for character, it is caricatured throughout. Roland is made a ninny; Rattle Trap a brainless adventurer; Jack Straw's humour lies in his horse-laugh; Crockery is a blubbering booby; Pigeon is a crow, and Prattle a magpie.

Yet slight as is the fabric of this fable, and extravagant as are the persons introduced in it, we derived a good deal of amusement from the performance. The piece was

or Quilo Gale.

Saturday Evening, May 10. Abalino-Review, or the Wags of Windsor. This is an American translation from a German drama. It always draws an audience, though few can define its attractions. As there is neither nature in the character, nor probability in the plot, we must ascribe its interest, for interest it does possess, principally to the surprise kept up by the extra vagance of its incident. Mr. Robertson played the double part of Abalino and Flodoardo; and in our opinion, was most successful in the last. His love scene with Rosamunda, was well conducted; though there is something too much' of it. His introduction of himself to the conspirators, as Abelino, and deportment towards them, were admirably managed. Mr. Pritchard's Parozzi, was decently done. Mr. Baldwin was unjust to Memmo, in degrading him into a mere baboon; and Mr. Thomas made a most unghostly Cardinal Grimaldi, though constantly rolling his eyes up-to the gallery. Mrs. Darley was touching in Rosamunda, and Miss Dellinger hopeful in Iduella. The Wags of Windsor is a favourite farce. Mr. Hilson in Caleb Quolum, topped his part. Mr. Jones in Deputy Bull, and Mr. Baldwin in John Lump, contributed to our mirth; and a Mr. Robinson made a favourable debut, on the New-York boards, in Looney M'Twoller. The brogue appears in him, for all the world, like his mother tongue! We have never seen Miss Dellinger appear to greater advantage than in Phabe. Her performances this evening have really encouraged us in regard to her; we actually heard several words in her

This capital comedy is well named. We know few authors, who have understood stage effect better than Morton; and this is an admirable instance of his art in the structure of his dramas. Indeed more innocent, hearty merriment, could hardly be comprised in the same compass. It is, at once, perfectly moral, and exquisitely comic. Nor did it lose its zest in the representation. The scene in which old Rapid and his son are detected in the fact of patching a coat, by Vortex and his daughter, is one of the best imagined possible, and was done in the best manner imaginable. Simpson as young Rapid, Barnes as old Rapid, and Hilson as Frank Oatland, carried all before them. Mr. Jones as Vortex, and Mrs. Baldwin as Miss Vortex, entered into the spirit of their parts; whilst Mrs. Darley in the gentle Jesse Oatland, gave all its romance and rusticity to the piece. The new melo-drama, which was got up this evening, is a paltry affair. It is a sort of Comedy of Errors, without any of its humour. It is a series of grave etourderies, leading to the most solemn consequences. We shall not perplex ourselves, nor puzzle our readers, by attempting to unravel the entanglements of a plot, which has no other interest than its intricacy, and whose most important incidents are founded on such stupid mistakes, as stifle all sympathy.

Friday Evening, May 16. Stranger-Watch Word, or Quito Gate. This interesting Drama of Kotezbue's was well acted. Mr. Simpson's personation of the Stranger was unequal. In the scene in which he unexpectedly met his early friend the Baron, he did not repel his solicitations to renew his intercourse with the world, with that calm determination which would have suited the dark complexion of his fate, but rebuffed him with a petulance that diminished the dignity of distress.' He played admirably, however, in the closing scene. Mrs. Barnes's Mrs. Haller was a first rate performance. There was a propriety and a temperateness throughout her deportment, that evinced the sincerity of her penitence, and pleaded successfully for the forgiveness of a crime, to which pardon could on no other condition be extended-and which is even then extorted. Nothing could be more affecting than her interview with her wronged, yet doting husband. Her self-condemnation and abasement were finely contrasted with his burning sense of shame. The struggle between his affection and his notions of honour was well maintained; and when, at last, he suffered himself to be subdued by the superadded feelings of a parent, we, at least, extenuated his weakness.

Saturday Evening, May 17. The Rival Queens.-Don Juan. This is one of poor mad Nat. Lee's Tragedies. There are marks of genius in it; but its language, generally, verges so closely upon bombast, that, with the least admixture of rant, it becomes absolute fustain. We looked in, during the representation-and looked out again.

Monday Evening, May 19. Folly as it Flies.-Broken Sword. This is one of Reynold's best Comedies, and we were not a little surprised to see it announced as for the first time in 14 years! It 7 as not ill done, but we could not feel much pleased with the cast of a piece of this chaacter, in which Mr. Hilson was omitted. We are not in the green room secrets, but 1st presume, that in reviving a play which had been suffered to lie dormant for so maay years, there could have been no difficulty on the score of those petty jealousies which so often perplex the manager and disappoint the public, in disposing of the strength of the company to the best possile advantage. This certainly was not done in the present instance.

Mr. Pritchard's Sir Herbert Melmoth was decorous. Mr. Robertson's Leonard would have been more interesting had his demeanour been more modest, and his manner less precise, less constrained, and less laborious. Mr. Simpson in Tom Tick, was as is usual with him in such parts, too flustered. Mr. Barnes's Peter Post-Obit was comical enough--but was just what any thing else would have been in his bands. He has no great variety in his action, and little nicety of discrimination. He has a knack at raising a laugh, and is content to practice the same trick as long as it will answer the same end. We would inspire him, if we could, with a better ambition. We rate his powers higher than he appears to do. He has an unpleasant habit of dwelling on the letter r, in certain connexions which we point out, in the hope that he will correct

it.

In his pronunciation right becomes erright, strange, ster-ange, &c. Mr. Jones ailed in Dr Infallible, and Mr. Baldwin's Shenkin was shabby. Mrs. Barnes as Lady Melmoth was more fascinating in her simple garb than in her fashionable habiliments. We allude not merely to the accession of interest derived from misfortune.-She was truer to nature in the fair penitent, than in the fine lady. There was a stateliness and a parade in her vivacity, that took from its effect.

Wednesday Evening, May 21. School for Scandal.-Killing no Murder. As long as true wit shall be relished, this inimitable Comedy will keep possession of

An

the stage. It is not much to the credit of New-York taste that it was played to a thinner house than we had noticed for a week before. There is no ribaldry in the wit of Sheridan, nor does his humour consist in the travesty of characters. Is it possible that habitual contemplation of sign-post daubing can so blunt the perceptions, as to destroy all relish for the touches of a master? imputation rests upon the public, which must be done away before we can have the face to urge it, again, upon the managers to bring up the good old stock plays. We fear we have counted too much on the co-operation of the auditors.-One, and only one objection lies against this play. It may lead to inferences unfriendly to morality-although it contains nothing positively immoral. Now, we neither expect nor require dramatists to write sermons-we will allow them to indulge in every innocent levity-all we exact is that they do not become accessary to evil. We are afraid this Comedy is easily rendered so. The hero of the piece is Charles Surface, an inconsiderate spendthrift, who has nothing to recommend him but a kind of constitutional generosity, and a frankness that proceeds principally from an audacity that disdains disguise. His brother, Joseph Surface, is, on the contrary, introduced as a man of sentiment, a paragon of virtue-but proves, in the sequel, to be a hollow-hearted hypocrite, who is deaf to the solicitations of charity, and base enough to attempt to violate the honour of his dearest friend, in the person of his wife.-Even Lady Teazle's escape from the snares of her wily seducer is apparently, at least as attributable to anger at the discovery of his attachment to Maria, as to a

returning sense of duty, though properly ascribed to the last. It is, indeed, very possible for such things to have happened as are here described. There may have been, perchance, 'in the tide of time,' a young man like Charles Surface, who was 'nobody's enemy but his own'-Joseph Surfaces are, certainly, not so rare as black swans,and the blood may, perhaps, have regurgitated to hearts as tender as Lady Teazle's, without the affusion of disappointment.

Having said so much of the play, we must speak very generally of the performance. Mr. Hilson's Sir Peter Teasle was in high perfection; except that his glee, at the idea of exposing the little French milliner,' betrayed him into a very silly and undignified sort of snicker. Mr. Jones's Sir Oliver Surface was unsatisfactory-Mr. Pritchard's Joseph Surface was worse. This gentleman presumes too much on his favour with the audience. They know better what is due to themselves, than to put up with his reiterated negligences in the study of his parts. Charles Surface was well personated by Mr. Simpson. It is a character that comes