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    to the ultimate success . It might succeed certainly ; for nothing is so capricious as the public . If it did , so much the better ; the adventurous spirit would be fostered ; and if it did not , there was great chance of faith in good works disappearing , and the old managerial routine resuming its ruinous obstinacy . " How then did the play go off ? " My dear Madam I have to ask the same question , for I was not there . "Not there I You , a critic ! " I eomfrehend your astonishment , but precisely because am a critic , and do not judge of pieces I have not seen , I am forced to defer giving an opinion on this and

    ALL THE EASTER PIECES until I return—next week . Que voulez-vouz ? I often complain of deficient ubiquity , and you yourself must see the impossibility of my being here among the buds , and there in the gaseous atmosphere of theatres . I am taking a holiday ! I could tell you immense lies , but the innocence around me gives me a pastoral turn of mind , and forces me to candour . " What does he in the North when he should serve his Leader in the

    West ? " What does he ? Why enjoy this park , these wooded heights , this winding stream ( the fish by the way avoid me—they must know I ' m a critic !) smile affably on obsequious vassals who fly at my command , as if I were a magnate of the land instead of being simply one of the Aristocracy of Intellect ( poor devil !) . I lounge , play billiards , ramble among the primroses , with an eye to every " neat-handed Phillis" that comes in my way ( and such hands they have , these Phillises !) ,

    and altogether demean myself "like that most capricious poet , Honest Ovid , among the Goths , " to use Touchstone ' s simile . The weather is brilliant j the estate is lovely ; and my host affable ( something too eloquent , perhaps , on draining ; but let that pass !) . There you have a veracious account of " Vivian among the Buds "—instead of Vivian in the Boxes . He thus recovers his failing healthlost , dear Madam , in your service , and in the service of all the charming and charmed readers of this Portfolio of our journal .

    Such being the historical position of your humble servant , you will permit him to gather from the veridical Times such information about the Easter pieces as may supply the place of his oracular verdicts . Of the Robbers , I learn : — " As an acting drama Schiller ' Bobbers is new to the English public , though it is popular with the inhabitants of the United States of America , who take especial pleasure in its heroic spirit of insubordination , and the broad interest of its scenes . The version which Mr . Anderson

    uses for his own theatre is , according to the bills , framed by himself . The ' acting' German edition , that is to say the third , in which the brothers Karl and Francis meet , is the one adopted , and that the curtain may fall with effect Karl is shot on the stage at the end of the piece , Instead of being allowed to deliver himself up to justice . The long metaphysical discussions in which Francis especially delights are abbreviated almost to nullity , ai . d a series of very vigorous cuttings reduce the piece to reasonable dimensions . " The time when Schiller ' s Bobbers could astonish an audience has past away . A long inurement to French classicism was requisite to render this violently reactionary work capable of producing that excitement which appears so remarkable in the literary history of Germany . But it still remains an effective melodrama of a high claBB , and Mr . Anderson , in his version , has well considered its capabilities in this respect . A more satisfactory representation of the robber Moor , bold in demeanour , and strong in body , could scarcely be found than in the person of Mr . Anderson himself , and the groups of bri gands , stationed before some well-painted scenery , are in every case arranged with great feeling for the picturesque . A call for Mr . Anderson , uttered by a crowded house , honoured his exertions and his talents . " The Haymarket has appealed to the Brothern Brough , men of wit , of fun , of experienced burlesque , who seem to have wasted their ingenuity upon a parody of tho Bohemian Girl . Surely Buim does not admit of parody . The man who wrote " Alan ! this maddened brain Can reason scare restrain . Here let me end my days In nhame ' a expiring blaze . ' "the man whose " fine frenzy" rolls into poetry of that pythonic character in beyond the reach of parody . But with Mins 1 \ Morton , Bland , ami Buck-Htoius , amusement i « certain . Tlio PrinceHs ' M relies upon itn panoramas , itn dreHHKN , and its puiw ; if I undenuund my authority aright , tho puna being more abundant than brilliant : — " The extravaganza opens with a bivouac ; of fairies encamped in Brompton-square , who have been sont over as commissioners by their bister fairies to secure quarters during the Great Imposition . Tho encampment la

    invaded by Mrs . Keeley herself , who is in quest of a subject for a new burlesque , and in her need summons the fairy band to her , and by their potent agency various subjects are suggested for her approval in illuminated tableaux . These , however , she rejects , and when driven to despair a brilliant thought strikes her to try Spain , and she accordingly despatches the sprite Asmodeus in a balloon in quest of a story . This voyage is made the means of gratifying the popular taste for moving panoramas , and as with Asmodeus we flit through the air , we pass over the Crystal Palace in Hyde-park by moonlight—a scene which was greeted with great applause by the audience . "We are then wafted over Dover , the Channel , Calais , Paris , and the Champs Elysees ;

    and pass , at a jump , to the Pyrenees , and thence to Granada . The whole of this panorama moved vertically , instead of horizontally , and produced a novel and pleasing effect . At Granada the plot of the piece begins , consisting in the dangers and hairbreadth escapes of three Christian knights , who , taken prisoners by the Moors , fall in love with the three beautiful daughters of Mohamed , the Moorish King of Granada . These knights are personated by Mr . and Mrs . Keeley , and Mr . Wigan , and to their hands and those of Mr . YVynn , the Moorish King , and Mr . Harley , who fills the character of Hussein , a major domo , the fun of the piece is intrusted—that is to say , as far as the dialogue is concerned ; for the drollest part of the extravas ^ an za was the antics of Mr . Flexmore , who personated a pet monkey . "

    At the Olympic , Tom Taylor has set Sir Roger de Coverley before you , surrounded by Will Honeycombe—the lovely widow—and somegipsies . From the account of this piece , which is by no means clear , I gather that its interest depend rather upon " scenes" and < c characters" than on any intricacy of plot . It is a bit of old English history transacted on the stage .

    And last—not least , certainly , in our affectionscomes the Lyceum , as usual , with the most brilliant and tasteful spectacle of the whole : — " Although the story of the Queen of the Frogs is but little known , Mr . Planche manages to make the incidents pretty clear , more so than in any of his recent productions of the same class ; and this is an advantage for which audiences will feel grateful . His doggrels abound with comic allusions , with parodies , and with strokes of satire which happily all can apply . The point and neatness peculiar to his pen are as apparent in the whimsical dialogue which runs through the two acts as in anything else that has proceeded from the same fantastic source . No , one , however , who witnessed the

    Queeti of the Frogs could conceal from himself the fact that the main success of the piece depended upon the scenery and decorations . Mr . W . Beverley ' s help in the former department was of priceless value . To the excellence of this artist ' s talents we have often done justice , and the scenes in the present piece which emanate more immediately from his pencil are but justifications of what we have already said . He is the only veritable painter of these fairy legends—the only proper associate of Mr . Planche in these pleasant passages of inconsistency and absurdities . His efforts on the present occasion are similar in tone and purport to those which have gone before . The Hall of Diana , the Quicksilver Lake , the gardens of Prince Nonpareil , and the Nuptial Bovver of the Queen of the Frogs , breathe the very spirit of the

    ' unreal , ' and afford a fascinating insight into the realms of poetry and romance . The scenery , generally speaking , is not upon so vast and showy a scale as that in King Charming , excepting the finale , which , constructed upon similar principles a « the celebrated close to that piece , is equally rich and lustrous in effect . A ring of dainty maidens support a capital of gold , which arises amid a suffusion of coloured fires , and developes other figures , bathed in light , forming altogether a tableau of matchless and dazzling brilliancy . The applause which awaited this superb display was universal , and the curtain descended upon it in triumph . " There , Madam , I have given you all the information in my power . Will you grudge me m y holiday ? Vivian .

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    OPERAS OF THE WEEK . At her Majesty ' s Theatre , on Tuesday , Lahlachc made his rentree , before a moHt enthusiastic audience , as Dulcamara in I ) oriv / , elt \ ' Hli' Hlisird'Arnore , an opera rendered peculiarly interesting- by the charming impersonation of Adina by Caroline Duprez . Like the part of Amina in Sonnamlmla , thin is juKt the vein for Mdlle . JJuprez ' s talent . Ah the village coquette . she was gracefully vivacious , and her execution of tho music has added immennely to her fame . Such parts arc no perfectly her own , thai ; it will he in vain for the oldiuvouritcs of the Italian stage to dispute her laurels .

    At the Royal Italian Opera the performance of IjC . s Huguenots , arid the arrival of the exquisite and unrivalled tenor Mario , brought an overflowing house . His magnificent impersonation of Kaoul produced a perfect furore . Angri was indisposed , and her part , taken by Mademoiselle llertrandi at a lew hours' notice . With ( irisi as Valentine , Formes as Marcello , and Castellan as Murgarita de Valois , with such a chorus and such a band , the opera went magnificently .

    On 1 hursday Roberto if Diavolo introduced Tamberlik , who , having recovered from his indisposition , played Roberto to perfection . Tlie opera

    was exceedingly strongly cast , including Formes , Rommi , and StigeUi , and Mesdames Grisi and Castellan . There were several attempts to encore , but the trio in the second act , " La sguardo immobile , ' * excited such a re-demand as could not be resisted . Madame Castellan was in exceedingly fine voice , and gave the « ' Roberto , otu che adoro , " most exquisitely . Every care had been taken to place this very melodramatic opera effectively on the stage . The scenery is very beautiful , and Roberto may certainly be placed among the great successes of the season .

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    HENRY RUSSELL AT THE OLYMPIC . On Saturday night Mr . Russell completed his week at the Olympic : the theatre having been crowded nightly by a dense mass of admirers . Popular as Mr . Russell's evenings have always been when song and anecdote formed the entertainment , the new element of pictorial delineation cannot fail to extend his fame . The entertainment is not only amusing , but of a highly-instructive character ; while , to the intending emigrant , to the philanthropist and to the philosopher , it exhibits much and suggests more .

    The first diorama , entitled " The Far West , " illustrates the passage of an emigrant ship from the Old World to the New . Mr . Russell describes the passage with many a lively anecdote as the scenes pass before the eye , and then breathes out the sentiment which may be supposed to animate the breasts of the emigrants , in songs as effectively composed as they aie poetically written . For instance , as the ship leaves Liverpool and rolls down the Mersey , we have a pathetic ballad , " The

    Parting Tear "; when the emigrants have got under way , and the heart begins to feel it useless to look towards the home which is so fast receding from the sight , we have the thrilling chorus , " Cheer , boys , cheer ! no more of idle sorrow "; and when the emigrants have been a fortnight at sea , and have their " sea legs" on , their feelings are expressed in a right joyous song , " Far , far upon the sea . " The happiness of the strangers , as they come in sight of their city of refuge , is also well described by the bounding strain : —

    " To the west , to the west , to the land of the free , Where mighty Missouri rolls down to the sea , Where a man is a man if he ' s willing to toil , And the humblest may gather the fruits of the soil . " Mr . Russell is just the man to put life into an emigrant party . Hopeful , believing in the dignity of labour , and having unbounded faith in the power of industry , he would send our poor , depressed , hardworking , and starving population to a land flowing with milk and honey for him who would be at the pains to gather them . We have also most interesting delineations of the emigrant ' journey inland to the backwoods ; but as he goes there let him visit Niagara and hear the poetic apostrophe uttered by Dr . Mackay : — NIAGARA . Mighty Niagara ! whose voice we hear Bursting in thunder , loud , sublime , and clear , Thy glorious waters , like an ocean hurled From the blue heaven to overflow the world , . Fill us with wonder as we stand afar , Humbled to think how small and mean we are ; And as they rush and foam , and burst and roll , They speak high language to the listening soul . No roar of billowa battling with the sky , No thunder leaping from the hill-tops high , No voice of Nature warring or at . rest , Can equal thine , O river of the West ! The tempest ' H voice grows silent on the sea , But thine , O flood , exults eternally ; The cloud-born thunder stills its wildest roar , But thine , perpetual rolls for evermore . And evermore the waters seem to Bay , ' We rolled rejoicing , as we roll to-day , Four thousand years ago , when earth was young , And Nouh ' . s souh their first glad anthcniN sung , Long ere the foot of man disturbed the wood , Or human eye beheld thy mighty flood , To morn and night my voice sublime was raised , In ceaseless gratitude and God was praised . On ! ever on ! my gathering waters flow . Men live and die , the nations come and go , Race follows race , and change coined over all , ( jfn-at cities nourish—rule the world—and fall , . And leave behind no record but a name , But . I mirvive them—changeful , y « -t the same ; And I shull speuk to nations yet to be The name high lunguuge that 1 Hpouk to thee . When this great Kinpire , in its youth sublime , Shull reach the brightest splendours of its prime ; When , after thousands of nun ' s little yearn , It shall decay amid its younger jhuth ; When it shall fall like Babylon and Rome , And once again become the wild rnun's home , My mighty flood shall thunder as to-day In strength and beauty , heedless of decay . Build eitien on my banks , and let me hear L'hc song of labour and . the voice of cheer :

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    April 26 , 1851 . ] ® J ) £ & £ && *?* 397

• Citation
  • Leader (1850-1860), April 26, 1851, page 397, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1880/page/17/