THE LONDON THEATRES.

OCTOBER.

DRURY LANE.

27. [Never acted] TIME'S A TELL-TALE. Characters by Messrs. Raymond, Elliston, Mathews, Dowton, Palmer, Russell, De Camp. Miss Mellon, Mrs. H. Siddons, Miss Duncan, Mrs. Sparks. In Act II. a dance composed by Mr. D'Egville, and performed by his pupils. In Act V. a song by Miss Duncan. Prologue, Mr. Eyre: Epilogue, Mr. Elliston. Fortune's Frolic. 28. Ibid-No Song no Supper.

29. Travellers. Mr. Braham's first appearance this season. Mustapha, Mr. Ray, [in the room of Mr. Bartley] Lying Valet.

31. Time's a Tell-tale-Rosina. Belville, Mr. Johnstone; William (1st time) Mrs. Da Ponte; Irishman, Mr. Smith. Rosina (1st time) Miss Lyon.

NOVEMBER.

2.

3.

Time's a Tell Tale-Forty Thieves.
Ibid.-Rosina.

4. Duenna. [Not acted for 20 years] DIVORCE. Sir Harry Trifle, Mr. Russell. Qui Tam, Mr. Mathews; Dennis Dogherty, Mr. Johnstone. Lady Harriet Trifle, Miss Mellon; Mrs. Anniseed Mrs. Sparks; Biddy, Mrs. Bland.

5.

Time's a Tell-tale-Rosina.

6. Love for Love-Divorce.

7. Time's a Tell-tale-Matrimony.

9. Ibid.-Wood Damon.

10. School for Scandal-My Grandmother.

11. Time's a Tell-tale-Rosina.

14. Much Ado about Nothing.

Benedick, Mr. Elliston;

Claudio, Mr. Barrymore; Beatrice, Mrs. Jordan. Divorce.

16. Jealous Wife-Wood Dæmon.

17. Cabinet. Crudelia (1st time) Mrs. Scott; Constantia (1st time) Miss Lyon. Three Weeks after Marriage.

18. Time's a Tell-tale-Wood Damon.

19. All in the Wrong. [Never performed a new melo drama in two acts called ELLA ROSENBERG. The overture and music by M. P. King. The characters by Messrs. Raymond, De Camp, Elliston, Bannister, Mathews. Mrs. H. Siddons, Miss Ray, Mrs. Sparks. A dance composed by Mr. D'Egville.

20. Love in a Village-Ibid.

21. Trip to Scarborough. Loveless, Young Fashion, and, Amanda (1st time) Messrs. Putnam and De Camp, and Mrs. H. Siddons-Ibid.

23. Country Girl Harcourt, Mr. Powell.-Ella Rosenberg. 24. Cabinet-Ibid.

25. Time's a Tell-tale Ibid.

26. Wonder. Ibid.

October 27. TIME'S A TELL-TALE. This comedy, the production of Mr. Henry Siddons possesses considerable merit.

FABLE. The father of Sir David Delmar (Mr. Raymond), a baronet and man of fortune, left, at his death, an only son and daughter, both young, and unmarried, Sir David, the heir of his father's title and fortune, was on his travels when this melancholy event happened; and, before his return, his sister, following the dictates of love more than prudence, had married the son of a neighbouring yeoman. The young and haughty baronet, on learning the intelligence, disowned his sister, who, with her husband, went to St. Domingo in quest of better fortune. Here Hardacre (Mr. Dowton), which was her husband's name, was very successful, and amassed an ample fortune. They were also blessed with two children, a son and daughter; but the health of the mother, at last, yielded to the intemperature of the climate, and she died, imploring a blessing and forgiveness for her brother, who had treated her so cruelly. Hardacre's plantation was soon afterwards burned down; while, with his son, yet a boy, he was absent, assisting to quell an insurrection in another part of the island. One of the ruffians who had set fire to his property, was in the very act of putting to death his infant daughter, when a naval officer, who had come ashore on the neighbouring beach, seized the child, and rescued her from her assassins. Blandford (Mr. Elliston) the young officer, conveyed her to his ship, as the only means of safety, and having returned home placed her in the family of his uncle, Sir David Delmar. Hardacre converting all his property into jewels and money, also returned to his native country, and the place of his birth, constantly bewailing the loss of his child, who he considered as lost for ever. His son (Mr. De Camp), however, was some consolation to him, and his friend Wyndham, who had returned with him to England, left him joint guardian with Sir David Delmar to his only daughter and heiress, Olivia (Miss Duncan). Olivia and Young Hardacre form a mutual attachment, but Sir David designs her for his nephew, and despises Hardacre living as a poor though industrious farmer in his neighbourhood. Sir David had by extravagance involved himself in difficulties, and had no other means of adjusting his desperate affairs but by accomplishing this marriage. His nephew, however, on his second return from sea, is averse to marriage, and proof against all the charms of Miss Wyndham, but contracts a warm passion for his fair protegee (Mrs. H. Siddons), who is equally attached to him, as her deliverer and benefactor. Sir David, disappointed in his nephew, then destines Sir Arthur Tessel (Mr. Russell) a man of fashion, and a rake, for the husband of Olivia, having no doubt that Sir Arthur would, by this means, relieve him from his em barrassments. Sir Arthur, in order to ingratiate himself into the family, had previously paid his court to Miss Venusia (Mrs. Sparks), the maiden sister of Sir David, who, though above her meridian, and affecting the learned lady, had no objection to a husband or lover. Sir Arthur, by the instigation of Sir David, sends young Hardacre a challenge, after having written to his colonel in his prejudice. The duel is prevented by Blandford, who has an interview with old Hardacre, and discovers him to be the father of his young protegee. Sir David is reduced to the necessity of leaving the kingdom on account of his creditors, when Hardacre pays all

his debts, and discovers himself as the husband of his latè sister. A double marriage then takes place, between young Hardacre and Olivia, and Captain Blandford and his protegee.

Neither in the plot, characters, nor incidents, has this comedy much pretension to originality, but the language is nervous and elegant, the dramatic arrangement very skilful, and the story which throughout commands attention, in two or three instances productive of very powerful effects. Miss Burney's Cecilia has suggested a few of the ideas, and for Blandford's account of the rescue of Zelidy, Mr. Siddons is a little indebted to Marmontel's Friendship put to the Test. His obligations to these writers we do not impute to him as a fault; a dramatic author may borrow whatever he pleases from the novelist. We think he might have appropriated something more of Cecilia, without disadvantage to his piece. As for Marmontel, he wrote his novels expressly for the purpose of being brought upon the stage. Mr. Siddons does not seem to have aimed at much comic effect. There are only two of the characters. which make any approach towards humour. One of whom has the curiosity of Marplot, but he has little to do with the business of the comedy; the other is an antiquated lady who affects literature, and might be removed from the play without doing it any injury.

It would, indeed, be easy to point out many defects in this play; the principal of which is, that it bears too much the appearance of being a modern novel turned into the dialogue of a modern comedy; but let criticism exercise all its art and ingenuity upon it, and still it must be allowed, that Mr. Siddons has displayed sufficient talent in the composition, to entitle him to a most respectable rank among the dramatic writers of the age; and to authorize very high expectations from his subsequent efforts. Elliston in Captain Blandford; and Dowton in Hardacre, exhibited some very fine acting. They were the great support of the comedy.

Oct. 4. The Divorce, revived. This farce has been revived for Mr. Johnstone, whose exquisite humour in Irish characters was so richly infused into his performance of Dennis Dogherty, that the public may expect its frequent repetition.

Nov. 14. Mr. Barrymore was advertized for the part of Claudio in Much Ado, but resenting the imposition of some heavy fine for non-attendance at rehearsal, he did not think proper to perform the character. Mr. H. Siddons at a short notice undertook it, and acquitted himself very creditably. Mr. Barrymore has quitted his situation in consequence of this misunderstanding.

Nov. 17. Cabinet. The first appearance of Braham, the great Dieu de la Chanson, drew an immense house on this evening, and the audience were, as usual, enraptured by his Polacca, &c. in Orlando. Miss Lyon has taken Constantia, a character always below the par of Mrs. H. Siddons's abilities, and by introducing some additional songs has given a new interest to the part. Mrs. Scott performed Crudelia, which was equally unworthy of the abilities of Mrs. Johnstone, who, (we forgot last month to mention) has entirely quitted the stage.

Nov. 19. ELLA ROSENBERG, a Melo Drama, by Mr. Kenny, author of the excellent farce of Raising the Wind; the welladapted French after-piece of Matrimony; the opera of False Alarms; and an after-piece acted at Covent-garden, the name

of which we forget, and which we believe the author has no objection to forget himself.

The scene lies in the neighbourhood of a camp, in the Prussian province of Molwitz, and the action takes place immediately after a great victory has been obtained by the Electorate Prince. The heroine, Ella Rosenberg, is the wife of a young Officer, formerly a Page of the Elector, and much beloved by him. Colonel Mountfort, a man of intrigue, high in power, and possessing and unlimited influence with the Prince, conceives a passion for Ella, at a time when Rosenberg is one of his intimate friends. He then finds a pretence to insult Rosenberg, who is provoked to draw his sword upon the parade against his superior officer, and dreading the consequences, from the severity of the military law, hastens immediately, it is understood, to the capital, for the purpose of appealing to the Prince, but being heard no more of, he is supposed to have fled his country. At the commencement of the drama, two years have elapsed since the circumstance. Resenberg's wealth is confiscated, and Ella, in a state of poverty, is under the protection of Storm, an old officer of Invalids, to whom she has been consigned by his friend, and her dying father. Mountfort, unwearied in his designs, pursues the object of his passion, discovers her new abode, and enters it in disguise. In his attempt, however, to bear her off, he is encountered by Storm, who, in the violence of his indignation, tears the scarf from the Colonel's shoulders, and tramples on it. In consequence of this outrage the invalid is made prisoner. Ella is left the victim of her persecutor, and his followers succeed in carrying her off. Mountfort then proceeds to congratulate the Elector on his victory, and finds him considering a petition from Storm, praying for a support for Rosenberg's wife. The Elector being much interested in the fate of Rosenberg, im parts his design of visiting her incognito, if possible, to learn the place of his retreat. Mountfort is at first alarmed, and endeavours to dissuade him; but he believes Ella in his power, and, taking advantage of the Elector's strict injunctious to enforce his martial law with the utmost rigour, to complete his security, he hurries Storm on his trial, who is immediately condemned. Ella, however, by the assistance of armed travellers, escapes, and meets her protector, guarded, on his way to execution. Storm has previously engaged the Commander of the Guard to endeavour still to find her a place of security, and at this unexpected meeting, endeavours to conceal from her his fate; but it is soon betrayed, and she is torn from him in a state of frantic agony. She is then conducted to a solitary inn by a soldier. On the approach of night, the Prince, concealing his person, fulfils his intention of visiting the cottage of Storm. On his way he encounters a man of wretched appearance, having escaped from prison, and flying from his pursuers. This man is the lost Rosenberg. He supplicates of the Elector the means of purchasing a shelter. A brief conference ensues, in which the former, without betraying himself, is led to disclose that Rosenberg has been secretly and violently imprisoned. The Elector directs him to the house where Ella has been, expressing his

intention of meeting him there in the morning, and ren dering him further aid. Rosenberg gains' the inn in safety, and Ella is also brought there in a state of insensibility. They are placed in different apartments. Mountfort arrives soon after, alone, in search of Ella, and, discovering her, is induced, from the wretched appearance of Rosenberg, to attempt to engage him to guard Ella while he seeks a conveyance. Rosenberg recognizes Mountfort, and accedes to his request, and on his own wife being brought before him, finds, for the first time, the author and the cause of his imprisonment. An affecting discovery takes place between Rosenberg and Ella, when the former is betrayed by the entrance of some of his pursuers, and is about again to fall into the power of Mountfort, when the Elector enters, with other pursuers, whom he himself conducts there, and through whose means he learns that Rosenberg was himself the stranger whom he had met. The Prince having obtained full conviction of the wrongs of the sufferers, the Piece concludes with the disgrace of Mountfort, the restoration of Rosenberg and Ella to rank and happiness, and the timely pardon of the brave invalid.

The merit of this piece, and no small merit it is, consists in so conducting the incidents as to command a progressive interest. The story is altogether serious; evidently of French or German origin, and bearing some features of the Deserter, but exceedingly well adapted to our stage, and the more creditable to the author, as its popularity will depend in uo degree upon the attractions of show and machinery. Mrs. H. Siddons in the heroine appears to uncommon advantage; she never played better. Elliston also gives a very powerful support to the piece; and Raymond and De Camp deserve the best thanks of the author.

The piece is composed by Mr. King. The overture is spirited and pleasing; the music (the little there is of it) which accompanies the action of the piece, is very appropriate, and there is a masterly glee in the second act, which is aided very considerably by the fine, powerful, bass voice of Mr. Smith.

COVENT-GARDEN.

OCTOBER.

23. Beggar's Opera. Polly, Mrs. Dickons. Arbitration.

26. Coriolanus. Virgilia, Miss Norton. Review. Mactwolter, a GENTLEMAN (his 1st app.) Phoebe Whitethorn, Miss De Camp. 27. George Barnwell. Maria, Miss Norton. Harl. and Mother Goose.

28. Poor Gentleman-Ibid.

29. Isabella. [Never acted] Too FRIENDLY BY HALF. Characters by Messrs. Munden, Blanchard, Brunton, Waddy, Farley. Mrs. Mattocks.