HAYMARKET. JULY 30. Teasing made Easy." The original intent of legitimate comedy, we are told, is "to hold the mirror up to Nature," and therein to shew the various virtues and vices which chequer the path of human life with aug mented effect. From a performance at taining to this object, much instruction may be elicited, and much morality may be imbibed. Some feel exultation in contemplating the delineation of virtue; others are awakened to self-correction by the unqualified exposure of vice: while all, with very few exceptions, endure a mental wound from the shafts of irony, or are lashed by the scourge of derition; and retire from the scene pleased and satisfied; while a majority, thus mildly convinced of their errors, are shamed into amendment. We are Jed · το REPEAT these observations (which we have used in another place), from the whimsicalities of the present comedy; which, if it do not aspire to the rank of a legitimate drama, is still superior to the generality of modern productions. Though the " lyre of Shakspeare be mute; though the wit of Congreve has expired with the evanescent brilliancy of sudden flame; and the vivacity of Sheridan slumbers in the grave which contains his ashes;" let us not, in mourning for parting excellence, damp the ardours of rising genius: and that the anthor of this three-act comedy possesses genius, who will be hardy enough to deny? Of Love and Gout," and Exit by mistake," we have already given a favourable report; and "Teasing made easy" is entitled to higher commendation. Its very title has something congenial with our feel.ings; and the names of the characters, are strictly in unison with the tempers and dispositions of the parties, whose foibles form the groundwork of the piece. Mr. Jamieson has combined spirited equivoque with interesting incidents-these principally turn on the distressing and laughable situations in which Glow-worm (Jones), a dashing circuit-counsellor; Gammon (Mathews), bis clerk; and Peter Pastoral (Tokeley); are placed in and about the house of Mrs. Teazer (Mrs. Davenport), they being severally taken for the young barrister, and thus making him appear to have been addressing three different ladies at the same time:-Miss Manley Mrs. Gibbs), a forward horse-racing and horse whipping lady; Maria Mixum (Miss Mathews), an upstart boarding. school miss; and Julia Compton (Miss Carew), the adored of Counsellor Glowworm. There is great bustle throughout the comedy; and the dialogue is kept up with much vivacity and pleasantry. If the characters do not possess much originality, they are well mixed up; and the incidents follow each other in quick succession, so that the attention never flags. The parts allotted to the performers are most appropriate : Mathews's Gammon was a rich mixture of impudence and self consequence; and perhaps in no instance has he been more felicitous than in the delineation of this evening. Tokeley's Pastoral was most whimsical-he personates a vulgar Cockney, delighted with walleys, valks, and luralities: it was rich in native ignorauce, and kept the audience in a roar of laughter. Terry's Litigant was very chaste but there was little room for the exertion of his talents. Jones bustled through his part with his usual naïveté: Mrs. Gibbs and Mrs. Davenport gave their best assistance; and Butler's Dummy was excellent. — In short, all the performers exerted themselves most powerfully; and Mr. Jamieson has adapted his characters so peculiarly to the follies of the day, that he may be compared to a skilful Enchaser, who renders even the meanest metals valuable by the life and motions of his fingers. The merriment excited by the accidents and misunderstandings-the lively retort, and the sprightliness of the narrative-all combined to ensure the success of the piece; and it was announced for repetition amid shouts of applause. AUG. 18. The Actor of All-work; or, First and Second Floor." Whoever has witnessed Mathews's eccentricities in private-his " quirks and his quiddities"-will not be at a loss to estimate the talent exhibited in the Actor of All work to those who have not, it will be impossible to convey any idea (except by witnessing his present performance), to what extent mimickry may be carried by an individual, who likewise combines genuine comic pow ers of no ordinary quality. His Multiple of this evening was a series of seven characters: his changes were so rapid, that the audience could scarcely credit the evidence of their senses; and we believe many of them were only convinced of his identity, when, at the conclusion, he disencumbers himself of his various disguises. Multiple being refused an engagement by the Manager (Connor) on the ground of incapacity, he is determined to revenge the insult on his professional reputation, by disguising himself, and appearing as a suitor for an engagement as a Prompter, who, by the advantage of squinting, can keep one eye on his book, while he has the other on the performers. He then introduces himself as a French Tragedian, and gives a strong outline of the declamation of the French school, delineating the rapid transitions of delivery, the grimace, and the violent startings which characterize their best actors. Robin Scrawky, a Scotch pawnbroker's nephew and stage struck run-away apprentice, now appears. Then follows the Uncle himself: and he is succeeded by his wife, who, in their national idiom, deal forth violent maledictions on the Manager, for belonging to a profession which had seduced their darling from his lawful call ing. The lady disappears, and a Fat 1817. Coachman presents himself, who is waiting for the pawnbroker and his wife, to set out for Dover, and who comes to the Manager to ascertain the cause of the delay of the passengers. He concludes by re-appearing in propria persona to the Manager, who considering such variety of talent a valuable acquisition, immediately engages him on liberal terms. Of the merits of this piece, which was written expressly for Mathews by Colman, we shall say little. It is im possible he can write any thing badbut as everything, in such a character, must rest with the performer, we have confined our observations to Mr. Mathews, to whom full scope is given for a display of his wonderful powers. He occasionally introduced some good imitations and the whole went off with unqualified approbation.-These pieces, Teasing made easy,” and “The Actor of All-work," have been continually repeated, to crowded audiences-and the exertions of the performers are liberally rewarded by public patronage. PERFORMANCES. July 25. Exit by Mistake-Rival Soldiers-Critic. 26. Wild Oats-Castle of Andalusia. 28. Travellers Benighted-Exit by Mistake. Chip of the Old Block. 99. Wild Oats-Castle of Andalusia. 30. Teazing made Easy-Panel-Darkness Visible. $1. Ditto-Matrimony-Killing no Murder. Aug. 1. Ditto-Blue Devils-Bee Hive. 2. Ditto-Wedding Day-Chip of the Old Block. 4. Traveliers Benighted-Teasing made Easy -Village Lawyer. 5. Rival Soldiers-Ditto-Bon Ton. 6. Flitch of Bacon-Ditto-Critic. 7. Three Weeks after Marriage -DittoCastle of Andalusia. s. How to Die for Love-Ditto-Mogul Tale, THE SURREY THEATRE. As the diamond, when it lieth concealed in the mine, is free and unmolested; but when it shineth abroad on the earth, all covet its possession; so, at this elegant theatre, the Proprietor has only to announce a new spectacle, and his doors are crowded with the votaries of pleasure-anxious to pay tribute for the gratification they are sure to experience. This was the case on the first representation of “The Fatal Island;" and the expense of getting it up has been amply rewarded by the guests that nightly throng to grace his board.-Babel Munach is the Sovereign of the Fatal Island, at which it is a custom that all strangers (females excepted) found within its territories are doomed to death. This law is ri gorously enforced-save, that the reigning prince has the privilege of preserving two in the course of his administration. The King of Persia, with his affianced Queen, and one attendant, are shipwrecked, and caston this fatal shore: the natives discover them, and they are immediately seized and carried before Babel, who becomes enraptured with the charms of the princess. He offers to exercise his prerogative in favour of the King and his attendant, provided his captive will resign all pretensions to his intended bride: this is, however, peremptorily refused-the Princess is carried by force to the palace, and the King is thrown into prison. Previous to the arrival of these strangers, Ina, a native, had been betrothed to Babel; and, stung with jealousy at his apostacy, is determined to sacrifice her rival to her love. The supplications of the princess, however, disarm her fears; and she resolves to protect the parties from the power of Babel. Pending these events, the King of Persia, by the stratagem of his faithful follower, is released from his dungeon, and proceeds to rescue the cap. Live princess; but is overpowered, and immediately forced to the place of execution. Ina, faithful to her promise, has induced her brother to join in the execution of her project, and arrives with an Amazonian force to save the lovers. Her troops are, however, defeated; and the fate of the King seems inevitable. At this period, a Persian fleet is discovered: Ina hails it; the troops land; a battle ensues; and Bahel is defeated, and made prisoner. His life, however, is spared, at the intercession of Ina; but, fired with rage at the disappointment of his ardent wishes, he treacherously attempts the life of the Princess-and, in the act of plung ing the dagger in her heart, is killed by an arrow from Ina's bow.-These are the leading incidents of this interesting spectacle and Bologna, Miss Taylor, Mrs. Orger, Gattie, and Fitzwilliam, sustained their respective characters with great force and ability-and were ably supported by the whole corps dramatique. The scenery is beautiful; more particularly the hanging bridge, the cascade, the interior of Babel's palace, and the mausoleum of the sove reigns of the Fatal Island. The arrival of the Persian fleet had a grand effect. The dances under the direction of Giroux, and the combats by Bologna, were worthy of these distinguished artists; and the curtain fell amid the acclamations of one of the genteelest and most numerous audiences of the season. AUG. 25. "The Vicar of Wakefield." In the common intercourse with society, we seldom like to see an old friend with a new face; but on this occasion we were induced to pay the earliest visit to this Theatre, to witness a representation from THE VICAR OF WAKEFIELD—a name which recalls to our memory some of the most pleasing associations of "times gone by". From this interesting and edifying novel, Mr. Dibdin has arranged a dramatic performance which embraces the principal events in Goldsmith's tale, even to the burning of the cottage, which was admirably executed: and when the pious Vicar rushes through the flames to save his darlings," the sensations excited were evinced by plaudits which did not subside till long after the scene had closed.-It would be. invidious to select any individual per former as entitled to praise-when ALL 66 played their parts in the scene" to general satisfaction; but it would be unjust not to notice the bravura of Mrs. Orger, descriptive of the fashionable follies of high rank, which she gave with an animation and skill which called forth repeated bursts of laughter and applause. The house was overflowing in every part; and when the piece was announced for repetition, the audience testified their approbation by long.com, tinued bravos. PERFORMANCES. rill The sattin was flow'r'd by the nymphs on the hill." Said good-humour'd Hebe-" Well, now 'tis too late To trim a new boddice and slip for the Fête I'll borrow a matron's attire, and to-night Two Hebes shall shine-one in black-one in white." From Brighton to London Queen Venus drove up, With Momus and Mars at the Regent's to sup; But when on her toilette her cestus was laid, No Graces were ready to offer their aid. Surpris'd and indignant the goddess look'd round "What-do I keep three, and not one can be found! If three lady's-maids are sufficient no more, I'll send to a Register-office for four." "This moment I'll fly there," said Mars, late Your pigeons are harness'd-the constables wait." "The constables!"-"Yes, all our parties require them, And Cupid himself has determin'd to hire them. But if the lost Graces grow heedless and vain, Or Venus another would add to her train, Next Thursday at eight, or whenever she chuses, She'll find a new Grace in the meeting of Muses," How gay was that night! - from young Flora's own bow'rs Her bland cousin Hebe brought thousands of flow'rs: So sweetly she wreath'd them around and Queen Venus herself was invited as due, But came not where so many rivals she knew; Tho' Pallas accepted a card, and 'tis said Was dancing when cynics suppos'd her in bed. But Cupid disguis'd to be lamplighter came, And sat on the brightest directing the flame ; The conscious glass shrunk at the touch of his torch Let those who approach'd it beware lest it scorch! Euphrosyne led in her gay sister-train From Jupiter's palace the feast to sustain ; Erato's soft fan was the grey turtle's wing, And Clio's a leaf from the white rose of spring. The three youngest Muses came each with a Grace, But Momus sent Hermes to sit in his placeHis plum'd epaulettes from young Cupid he steals, And robs Friendship's dove to put wings to his heels! Apollo was minstrel, and Cynthia look'd in To hear the bright harp of her brother begin: Aurora came next, with her dew-spangled feet Grown frugal and shrewd as a grave Financier, I send honest Truth to preside as cashier; Since Threadneedle-street can its bank. paper show, Nine spinsters may furnish a paper depôt. * * "Tlike sleep. IS morn!-and, starting from a cat Your Phaon wakes, o'er Sappho's lines to weep; Wakes, where uneasy dreams and fearful sights Shorten his days, by lengthening out his nights! And fix within his breast the gnawing pain, That all love's logic has been tried in vain, -What "widow's jointure" could that heart betray, Which your bright eyes had bidden not to stray? What widow's charms could tempt me from a belle, Who loved so faithful, and who wrote so well? Gifted with talents of all sorts and sizes, In learning's lottery drawing nought but prizes, Skilled in each modern art of killing time, By studying chemistry and weaving rhyme; Though my firm heart might other perils mock, By you electrified, it felt the shock: Caught all the sparks, like muslin, lawn, or tinder, And half burnt out, before you smiled to hinder. Judge what I feel then, to be thought untrue, And, worse than all,-my Sappho, told so too; Was it for this I sought Feinagle's aid, there! Then wander'd back my sorrows to renewy And only went to sleep-to dream of you! While deaf to all the music of Mozart, F'en Don Giovanni could no joy impart, Nor Ambrogetti's warbling touch my heart. What could I think?-when all my notes return'd, Half broke the heart such cruelty had spurn'd, Could I divine a rival's treachery did it? Could I see falsehood when such caution hid it? Ah, no! by Fate still doom'd to be deceived, He said, you smiled on him—and I believed! Believed you saw the knave with partial eyes, And that your Phaon was the sacrifice. Unkind attorney!-whose decoying look Was far-far falser than his own peruke, Soon shall my challenge to his chambers sent, Call forth the lawyer to his punishment: Will I returning, in a chaise and five, fire; |