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summer, Mr Arnold, the son of the late Dr Arnold, had obtained a licence from the Lord Chamberlain to play English operas from every 26th of June to every 19th of September; and Colonel Greville had obtained a similar licence to exhibit the same amusements during the winter. Mr Arnold was in possession of the Lyceum Theatre, and Mr Sheridan want ed this for his Drury-Lane company this season, but refused to pay Mr Arnold for it. A meeting then took place between Colonel Greville and Mr Arnold, who agreed to make

their summer and winter licences a joint property, and to open the Lyceum immediately under the management of the latter; but no assistance could be expected from the DruryLane company, while they were articled to Mr Sheridan, without that gentleman's permission. Here, how ever, Mr Sheridan made the first advances; and an arrangement was concluded, in which all the performers, under articles to him, were to consider themselves engaged to Mr Arnold in his stead, and, in consequence of which, the profits of the season were to be divided in thirds, among Colonel Greville, Mr Arnold, and, as it is shrewdly guessed, Mr Sheridan, his son, &c. The Drury-Lane company did not therefore play under their former licence, but under a new one, called in the bills "the special licence of the Lord Chamberlain, granted for the present season to the joint application of all parties principally interested." The renters, who had, soon after the burning of DruryLane Theatre, been cautioned by the proprietors against selling their 5001. shares" at an extraordinary depreciation," and "assured that every endeavour towards a just and equitable arrangement with them would

precede any attempt towards rebuilding the theatre," were now advised "that their adjourned meeting would take place early in October, when matters of essential importance would be submitted to their consideration ;" and were farther told, "that the present temporary arrangement had for its object the particular advantages of the new renters, and the means of keeping the company together, and that the proprietors had not reserved to themselves the smallest emolument or income, be the success of the season what it might."

No adjourned meeting that we could hear of took place; the company were not kept together; it was more than conjectured that some of the proprietors did receive emolument from the success of the season; and the renters and other legal claimants upon the theatre were thus left in the lurch. The articles of Mr Bannister, Mr Elliston, and Mr Braham, having expired, they all seceded from the com pany, which was, on the other hand, strengthened by Mr Philipps and Mr Horn of the English Opera.

On the 14th of October, the company received the accession of Mrs Edwin, the daughter-in-law of the celebrated comedian of that name. She appeared in the character of the Widow Cheerly, in Mr Cherry's comedy of the Soldier's Daughter, a part very injudiciously chosen for her introduction to a London audience. But, in spite of all the inanity of the character, which is only a bad copy of Murphy's Widow Belmour, Mrs Edwin contrived to make a highly favourable impression upon the town. She afterwards appeared in the characters of Violante, Albina, Lady Racket, and Beatrice. Her figure is short but pretty, and her countenance very animated. Her voice is plea

sing, and her enunciation good; but we think she does not sufficiently hide her art, to make the one sonorous and the other distinct. It appeared, too, that when she had done speaking, she sometimes seemed to think she had done acting, and relaxed from herexertions, so as to remind us, rather painfully, that they were exertions.

On the same evening with Mrs Edwin's, took place the first appearance in London of Mr Knight from the York Theatre. He performed Timothy Quaint in the play, and Robin Roughhead in the farce of Fortune's Frolics. He displayed a dry sort of hard manner, which has since lifted him into notice, and, to enter into no comparison with Mr Emery, his simple rustic is not without merit. The 7th of October introduced to a London stage, as a substitute for Mr Elliston, Mr Wrench from the Bath theatre. He appeared as Belcour in the play, and as Tristrem Fickle in the farce. The thoughtless vivacity of the West Indian was given with due force; but the occasional bursts of feeling and repentance were flurried over with a very ill grace. His figure, though not his face, is good, and his manner perfectly easy and confident: he has a vulgar trick of twisting and biting his lips; and his ease is rather that of an impudent, fearless, unmannered youth, than of a gentleman. In the farce, we found nothing to object to. The rapid transitions, the boisterous restlessness, the assumed gravity of the character, were all well represented. He has since sustained many parts belonging to Mr Elliston and Mr Bannister; and always shewed himself a better substitute for the latter than for the former.

The 25th of October being the

a musical farce, in three acts, of his own writing, and of Mr Kelly's composing, under the title of Britain's Jubilee. As an occasional effusion of loyalty, we might have pardoned the sorry writing of the piece, and should have contented ourselves with saying to Mr Arnold, “sufficient for the jubilee is the drama thereof;" but this gentleman, being author and manager too, chose to expose his bantling for many nights afterwards, ("an ill-favoured thing, sir, but mine own,") and Britain's Jubilee must therefore undergo a less tender criticism.

On the 2d of November, Mr Melvin, the gentleman who preceded Mr Jones for one season at Covent-Gar den Theatre, returned to the capital, and re-appeared at the Lyceum in the character of Vapid in the Dramatist, and Robin in No Song No Supper. Mr Melvin is an actor of considerable merit in certain characters of low comedy, such as Brass in the Confede racy, and Michael in the Adopted Child. His action wholly unfits him for the gentlemen of comedy, and his voice, from the singular lowness of its tone, suits better with caricature than with character. But there is a busy spirit about the actor, which always interests the audience in what he is doing; and, unpleasant as it is in general to listen to him, he now and then delights you with a touch of nature, that makes you forget the peculiarity of his voice.

No other production worthy of notice was produced during the remainder of the season.

COVENT-GARDEN COMPANY AT THE HAY-MARKET THEATRE.

The excellent pantomime of Moday of jubilee, Mr Arnold produced ther Goose was revived for the

Christmas holidays, "with additional splendour," and "concluded with two new scenes, representing the ruins of the old Covent Garden Theatre, and its transformation to a new one." The life and soul of this, and of every other pantomime by this company, is the clown of Mr Grimaldi, who has brought the character to a pitch of perfection that leaves harlequin wholly in the back ground; and this by a practice for which he has with justice been blamed; we mean that of uniting the agility of the latter character to the humour of the former. The clown ought to be harlequin's foil, and not his rival; and though his conceit ought to induce him to imitate harlequin's feats, his clownish awkwardness ought to force him to fail in the imitation. Mr Grimaldi is rather a harlequin affecting the clown, than a clown affecting the harlequin. In buffoon humour, Mr Grimaldi is faultless.

A severe illness at the commencement of the year, which confined Mr. Kemble, gave freedom to the exertions of Mr Young in the characters of Hamlet, Sir Edward Mortimer, Zanga, Macbeth, Beverley, Lord Townley, and Hotspur. Always respectable, sensible, and gentlemanly, Mr Young was seen with pleasure in every one of these characters. Mr Young is the actor of study; he has evidently paid the greatest attention to the character of Hamlet; and the consequence is, that that is his best performance. Mr Young is rather fond of innovation: When Macbeth enters and says,

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Why should I play the Roman fool, and

die

"On mine own sword ?"

Mr Young previously paused at the attitude of this species of suicide; but he has no authority for suppo.

sing that Macbeth, who must doubtless be supposed to have been debating, like Hamlet, the expediency of self-murder before he entered the scene, had actually decided in its favour, and had proceeded to this preparation for death, before maturer reflection led him to this self-interrogatory.

On the 25th of January, Mr Kem. ble was sufficiently recovered to resume his situation on the stage.

Mr Grefullhe's farce of "Is he a Prince?" (before alluded to,) was produced on the 7th of February. The equivoque of this piece is easy and natural; and the writing is the same. If Mr Grefullhe has little wit, he well understands at least the humour of situation, and disfigures his dramas with few modern vices. The farce afforded a happy opportunity for the display of Mr Liston's peculiar talents. Mr Munden maintained his character with the true dignity of a German baron, whose chateau avoit une porte, et des fenetres.

On the 9th of March, the company produced a new comedy from the pen of Mr Allingham, under the title of Independence, or the Trustee. This gentleman is quite unequal to the task of writing a comedy, however happy he may have been in one or two farces. His present attempt was damned on the first night of its performance; but was nevertheless repeated for three succeeding evenings. Thin houses seem to be now the only damnation which the managers of our theatres will condescend to recognize. Independence died of empty benches on the fourth night. For this reason, we shall spare to indulge in useless censure.

We find nothing to record of this company now, till the 29th of May, when Mr Lewis, after a service of

six and thirty years, took his last benefit, and with it, his final leave of the stage. He played the character of Michael Perez, in Fletcher's Rule a Wife and Have a Wife; and never did he play it better. It was in deed the great peculiarity of this comedian, that he never seemed to grow old. "Time, which was continually washing away the dissoluble fabrics of other actors, seemed to pass without injury by the adamant of Lewis." But Mr Lewis felt his years, if the public did not; and judged wisely in retiring from the duties of a profession, in which he could not, in the course of nature, have performed many years longer, while he "had not yet lost all his original brightness." The comedy being concluded, Mr Lewis came forward, and took leave of the audience in the following address :

"LADIES AND GENTLEMEN-I have the honour of addressing you for the last time. This is the close of my theatrical life, and I really feel so overcome, by taking leave for ever of my friends and patrons, that, might it not be deemed disrespectful and negligent, I could wish to decline it; but it is a public duty which I owe, and I will attempt to pay it, conscious I shall meet your indulgence; for, when I remind you, that I have been thirty-six years in your service, and cannot recollect to have once fallen under your displeasure, my dramatic death cannot be met by me without the strongest emotions of regret and gratitude. I should offer my acknowledgements for innumerable acts of kindness shewn to my latest efforts: all these I powerfully feel, though I have not the words to express my feelings. But while the heart has a sensation, it will beat with gratititude. Ladies and Gentlemen, with the greatest respect, and, if you will admit the word, the sincerest affection, I bid you farewell."

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The parting was the most interesting scene the theatre ever witnessed; and towards the conclusion of it, there was scarcely a dry eye in the house. The actor (or rather the man) was visibly affected, and left the stage amidst the loudest accla mations of a crowded theatre.

On the 31st of May, the company closed their season, Mr Young having previously addressed the audience to the following effect:

"LADIES AND Gentlemen-I am

desired by the proprietors of CoventGarden Theatre, to offer you their kind and liberal patronage you have most grateful acknowledgements for the afforded them during this most trying and distressing season. The weight of their obligation is the more sensibly felt, as they are aware (though every exertion has been used) the attraction of novelty has been in a great measure wanting. Next year, however, they hope the deficiency in theatrical amusements will be amply supplied. Their new theatre is now covered in. Owing to the circumstances of the times, they have encountered the greatest difficulties, and gone to an unprecedented expence in procuring the best materials neces sary for the structure of so large a building; but from the indefatigable exertions of all concerned in the undertaking, they have now the heartfelt satisfaction of assuring you, that the New Theatre Royal, in Covent-Garden, will be opened for your entertainment on Monday the 11th of September. The chief ambition of the proprietors has been, to consult the comfort and convenience of the audience; and they trust that, when completed, the New Theatre will receive the enviable sanction of your approbation, and be deemed worthy of the metropolis of the British empire. The performers, likewise, ladies and gentlemen, beg leave to return their most grateful thanks to a kind and indulgent public; and, till we meet on our new stage, the company humbly take their leave."

NEW THEATRE ROYAL, COVENT-
GARDEN.

The proprietors of Covent-Garden Theatre were certainly not idle in the erection of their new house. On Saturday the 30th of December, 1808, the first stone of the new theatre was laid by his Royal Highness the Prince of Wales, and furnished a very interesting masonic spectacle. Among the articles deposited in the box inclosed in the foundation, is a gold medal, stating, in Latin, that George, Prince of Wales, laid the foundation of the theatre with his own hand; and on the reverse is a bust of his royal highness, and the year 1808. There is also another medal, of the same size, of copper, with the following inscription:

“Under the auspices of
His Most Sacred Majesty, George III.,
King of the United Kingdom of Great
Britain and Ireland,

the Foundation Stone of the
Theatre, Covent-Garden, was laid by
His Royal Highness,
George, Prince of Wales.
M,DCCC,VIII."

On the reverse is,—

"Robert Smirke, Architect." Towards the close of the summer of 1809 there arose, for the inspection of the public, in Bow street, the facade of a handsome edifice in imitation of stone. The rapidity with which this theatre was constructed is unexampled in this country; but one, that was burnt some years back in Paris, was rebuilt of stone in less time. The building, although it is more like a church than a theatre, and is calculated to extort from him who enters a play-house, with a view to a snug seat, where he can see

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the building is certainly, from the chasteness and harmony of its design, "worthy of the metropolis of the British empire." Mr Smirke has taken for his model the finest specimen of the Doric kind at Athens, which has escaped the ravages of time and war, or the more desolating barbarism of the ignorant Turks, the grand temple of Minerva, called also Parthenon, and from its dimensions Hecatompedon, situated in the acropolis, or castle of Athens. By a careful comparison with the illustrations of Greek antiquities, it has been found that a scrupulous attention has been paid to correctness of imitation. The ornaments of the

tympanum and frieze, and at the corners of the pediment, are omitted; as is also the interior row of columns, for which the situation does not allow sufficient projection of the portico. At the top of each wing of the building are entablatures, with basso relievos, designed by Mr Flaxman, and executed by him and Mr Rossi, from subjects of the ancient and modern drama.

In a nich, at the southern extremity of the building, is the figure of Tragedy, holding the tragic mask and dagger; and in a corresponding nich, at the northern extremity, is the figure of Comedy, holding the shepherd's crook, or pedum, on her right shoulder, and the comic mask in her left hand. The design of these basso relievos is in the true spirit of the antique,' and the execution of them is good, but liable to the charge of flatness: the character of the front of the building seems to require some

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