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indeed, will obtrude, conscience shall be satisfied. It is self,” says Cedric to the hardhearted, kinhating a sermon, if you will, but if you will, also, it is a poem. old tyrant before him, and we are immensely.

tickled, because of the contrast of the two N° O such sermon, no such poem, is to be found

natures. in the actions of Dick Phenyl.

All through the play these contrasts tell, and The truth in nature is that drinking brings they even penetrate into the street, and the disgrace and misfortune upon the victim and his

photographs of Little Lord Fauntleroy and the family and friends. We have known this to be

Earl of Dorincourt seen in the shop windows so, have we not, dear friends ?

seem to tell a story. Then the picture of Dick Phenyl, a drunkard, not reforming till the last act, drinking before our very eyes , yet bringing blessings and happi- CAN any one say that the impression of what

the play was about is as clear and distinct ness to all concerned, is untrue. Of course it is

in his mind a week after seeing “Sweet Lavennot his drinking which brings happiness, it is his

der" as it is a week after seeing “Fauntleroy?" goodness of heart, that is where the truth lies

What was “Fauntleroy" about? Why, about a which makes Sweet Lavender" a success for

manly, lovable little boy conquering the pride of the present, but he does nothing to overcome

a crabbed old man. his habit of drinking, and his sin brings him no

Yes, pride, that trait of which it has been said: punishment !

" There is no affection of the mind so much You suppose when his lawyer enters and

blended in human nature, and wrought into our begins to read his uncle's will that the moral is about to be brought out. Surely Dick is going

very constitution, as pride. It appears under a

multitude of disguises, and breaks out in ten to lose something by being drunk at this critical

thousand different symptoms. Every one feels moment ? Now comes his punishment.

it in himself, and yet wonders to see it in his But, ye shades of Sheridan, Goldsmith, Jerrold,

neighbors." Taylor and Knowles, cnly great luck has befallen

You want to get rid of it though, don't you, him. The bad part connected with it is that it

after seeing “ Little Lord Fauntleroy ? " proves Mr. Wedderburn, of whom we have to

Alfred Grimm. suspect nothing but good, has been neglectful almost to a criminal degree of his business! No, Dick Phenyl is very near a Dickensy

REMARKS BY THE PRESS. character, very nearly a true dramatic character, Chicago Inter-Ocean : but the portrait is not true throughout, and the

The editor of The THEATRE has evidently been imbackground too full of sunlight.

pressed with Vasilli Verestchagin's "Realism in Art," but does not entirely agree with him. “We place music

higher in the arts than either painting or sculpture, as I SPOKE of the “contrast in the two plays. both of these are imitative, the greatest artist being the I wonder if some one has not made a very

one that comes nearest the best models and reproduces

in color or stone-the beauties and otherwise-of natdeep philosophic research into the factors in suc

Music is not imitative. To be a real .composer' cessful playmaking, and having done so found

requires original talent, inventive ability, a soul, and a the supreme one contrast?

mathematical head. It also appeals to a largei number Hale is a neatly dressed gentleman, Dick, a than painting or sculpture." slovenly lout, encumbered with soiled and dis

New York Daily News : arranged clothing. Hale says something about

The first page of THE THEATRE, the very cs cellent his man dressing him. Dick says:

dramatic, musical, art and literary weekly, of last week “Why don't you learn to dress yourself? I has on its first page a capital likeness of John Harring always dress myself."

ton (" John Carboy”). The article which follows is a There is a shout from the audience.

sketch of the life of this able journalist and litterateur. Although Mr. Harrington is in his sixty-third year, he

is not the least “old fogyish," mentally or physically. ONE always likes to think well of one's “John Carboy” is one of the boys and abreast with the relations, you know how that is your



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THE OPERA OF "PICKWICK." on Mr. Pickwick's bedroom door and the other

on the window looking into Goswell St. She MR. BURNAND, the editor of Punch, has

sings of lodgers :written a libretto for an opera on the subject of Pickwick's unfortunate misunderstanding

There's in Mr. Pickwick's eye

A sparkling light, which I descry, with Mrs. Bardell, and Mr. Solomon has written

Like a candle-flame that's burning round a thick wick; the music. It has been produced very success- But alas ! it only beams fully at the London Comedy Theatre. In order In my very wildest dreams, to meet cantata exigencies Mr. Burnand has When he looks on me and murmurs "Mrs. Pickwick !" brought to life for the first time the mysterious These meditations are interrupted by the baker who Pickwickian students will remember entrance of Tommy, a chubby little chap with a was mentioned in the case of Bardell v. Pick- piping treble, in cap, corduroys and comforter. wick as a gentleman in whom Mrs. Bardell took Tommy is just off to take the letter offering terms a friendly interest. The curtain rises on the to Sam Weller, and his anxious mother turns out famous apartment in Goswell St. Mrs. Bardell from his pockets, in plaintive recitation, toffy, is singing a ballad concerning the quart pot string, and so on. Tommy departs, and Mrs. which closed the mortal career of her late lament- Bardell sings :ed husband. And really if Mrs. Bardell was as Will he be bald or with curling locks on? agreeable a widow as Miss Lottie Venne makes

Will he be slim, or stout, or fat ? her out to be, Mr. Pickwick might have done

Will he be six feet two with his socks on? worse than taken her to his bosom. She is

A man “to look up to,"—no doubt of that.

Will he be always at home to dinner ? young and blooming, with a nice voiee, a wicked

With what's set before him never be vexed ? eye, and a mischievous smile. Heigh-ho,"

Will he,-but there, be he saint or sinner, "heigh-ho," sings the wily widow, with one eye

He who speaks first is My Next, My Next!

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· Baker, baker !" shouts the Baker, and a long of the capacity to receive the following they French roll is thrown into the room, followed by command at will in this city. For it was the Mr. Rutland Barrington in the baker's dress of cause of bitter disappointment to numbers the period and a basket of bread. The meeting untold that the too short engagement of Rosina is followed by a crummy“ Baker-roll” (one of Vokes prevented them from enjoying a repertory, the musical successes of the opera), with some the equal of which in diversity and excellence of very comic business. The baker pops the ques

material and superiority of presentation, cannot tion, and produces a license, which only awaits be found on the English speaking stage to-day. the sign and seal of the “ Wenus of widows" to All can not play the "early bird " game where complete his happiness. 'Not to-day, baker!" the box office enacts the role of the “worm." A sings the coquettish Mrs. Bardell. To a Pick- house sold out before the first performance wickian symphony Mr. Pickwick enters, and a stands in the light of a moral to those who read roar of laughter greets the wonderful make up of as they run across the path of this bewitching Mr. Arthur Cecil—the tights, gaiters, nankeen

actress and her band of fascinating supporters. waistcoat, blue coat, collar and stock, gold spec- The same overcrowding attended the pertacles, and the benevolent baldness of the im- formances of Miss Marlowe, whose second visit mortal man.

In song he ponders over the this season has won for herself added reputaprolonged absence of Tommy “ far away in the tion and honors. Her Rosalind captured the midst of the Borough.” Then comes the famous critics first and foremost, which leads to the misunderstanding. The minuet and the sympa- remark that this week the town is saying, “Marthetic duet in which Mr. Pickwick and Mrs. lowe, Anderson, Langtry, Potter! Marlowe first! Bardell allude to hop-scotch, leap-frog, and The rest nowhere!” And from the point of a sliding, in connection with the absent Tommy, true dramatic and artistic standard those who are, we believe, not to be found in Dickens. At sit in “ front " are right. last comes the climax in which Mrs. Bardell Shakespeare's plays are coming to again falls rapturously into Mr. Pickwick's horrified purify the stage of much that is vain and fleeting. and reluctant arms. Enter the indignant baker But not even the beauty and grace of Anderson's and Tommy; tableau and curtain, without Mr. Perdita, the inanity of Langtry's Lady Macbeth, Snodgrass, without Mr. Tupman, without Mr. the color, dressing and personality involved in Winkle, and without Mr. Weller. The comic Potter's Cleopatra, are the means to this end. cantata is thoroughly amusing and extremely As money-getting enterprises, these are successwell played; the lib tto is in Mr. Burnand's ful, or have been. There remains, however, the best form, and the music is tuneful and full of consideration of that which many seek but do absurdly amusing tricks by fiddle, flute and pic

not find in these actresses, if the concensus of colo.

critical opinion throughout this country amounts to anything ; also in confirmation of this, which

is as strong as Holy Writ—the intelligent apCRITICISM FROM BOSTON.

proval and applause of cultivated audiences are MARCH ARCH 1.-During the past three weeks of infrequent occurrence, in this city at least,

there has been much to excite and gratify when sought for by these fair petitioners. Mrs. the dramatic and musical tastes of the Boston Potter's much heralded Cleopatra on Monday public. Deserving especial mention and praise, night at the Hollis Street Theatre, called forth and easily leading in point of attractiveness and an audience not to be improved on from any heavy receipts, were the two weeks' engagement view. of the Vokes company and the single one of Very surprising to the admirers of Gilbert and Miss Julia Marlowe in this order at the Park Sullivan, is the failure of “The Yeomen of Theatre. It is more than fortunate that Messrs. the Guard " at Mr. John Stetson's house. In Abbey and Schoeffel are to release this house to spite of the reputation of the author, composer, its owner, Miss Lotta, and build one in the and Aronson's company from the New York spring of becoming size and appointment, one Casino, the opera has failed to do a paying busi

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ness, and this week ends its performance at the Globe. Even Carte's complimentary cablegram anent the first night reccption could not save it. When Boston likes what is “English” it says so in its own way, and there is no appeal from it. The Gaiety company learned that very quickly and gained by it.

The McCaull Opera Company are doing “ Boccaccio" at the Park this week to an enormous business. Who can resist Manola's charms of person and voice, or the rich fun of De Wolf Hopper and Digby Bell? The opera is thoroughly well done in all respects and deserves the attention paid its merits. Next week “ Falka” will succeed it. At the Boston “The Stowaway” is also filling that big house. • Sweet Lavender" was withdrawn from the Museum on Thursday night to make way for “Rosedale,” given on the following one, that being the twenty-fifth anniversary of Mr. Field's management of that house, and the latter play the first one produced by him in it.

Henry Whiting:

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Irving, Augustin Daly, Constant Coquelin, Miss Rehan as katherine, Miss Elsie De Wolf, Mrs. Wilber A. Bloodgood, Miss Kathryn Brady, Vliss Alice Lawrence, Mrs. James Brown Potter, Genevieve Lytton, Emile Zola, Steele Mackaye, May Robson, Franz Van der Stucken, R. M. Field, M. de Munkacsy, Patti in her youth, Mrs. Vincent, Irving as Jingle, Kate Munroe, Carlos Hasselbrink, Hans Makart, John Howson, Tohn T. Raymond, Herbert Kelcey, E. H. Sothern, C. W. Couldock, Osmond Tearle, Madame Schumann, Eliza Weath. ersby, Genevieve Ward. Kyrle Bellew, and others, besides innumerable illustrations of plays.

VOLUME IV. contains 552 pages. Among the portraits are those of Jane Hading, Ellen Terry, Rosina Vokes, Ada Rehan, Camille D'Arville, Lillian Russell, Mrs. J. G. Blaine, Jr., Mrs. D. P. Bowers, Charlotte Cushman, Isabel Irving, Annie O'Neil, Joseph Howard, Jr.,Georgia Cayvan, Jan Van Beers David Belasco, Henry Č. DeMille, F. De Belleville, Mrs. Mulock-Craik, Henry Meilhac, Wm. F Davidge, M. Blowitz, Sara Bernhardt, James Aicken.

AMONG THE CONTRIBUTORS to these volur es were William Winter, John Gilbert, A. C. Whee'er (“Nym Crinkle,") Joseph Hatton, Harry Edwards, George Fawcett Rowe, James Parton, Edgar Fawcett, Barnet. Phillips, G. E. Montgomery, H. S. Hewitt, C. M. S. McLellan, Alfred Ayres, Benjamin Folsom, H. S. Adams, Charles B. Welles, Cupid Jones, Charles Millward, Henry Pene du Bois, Henry Gallup Paine, Rose Eytinge, ?. S. Saltus, Melvin G. Winstock, John M. Morton, Kyrle Bellew. Evelyn Harvier, W. W, Denslow, Henry Whiting, Olive Logan, F. Bellew, Har. old W. Raymond, Clara Lanza, Louis Von Eliz, George Parsons Lathrop, Thos. W. Pittman, B. F. Hapgood, Hilaire Grezy, Townsend Percy, A. C. Gunter, P. G. Cusachs, Frank Fowler, Joseph Fleming, Francis Day, T. H. Howard, Charles Lotin Hildreth, Ernest Knaufft, Edgar S. Kelley, Deshler Welch, Wayne Ellis, Daniel Spillane, Oito Peltzer, Norman Jeffries, Mrs Charles R. Doremus, Loie Fuller, Lewis Rosenthal, DeWitt Sterry, Robert Baxter, Stephen Bonsal, Hamilton S. Wicks, Henry Sargent Blake, John E. Kellerd. David Gamut, John E. McCann, Valentine G. Hall, S. Frances Harrison, Clinton H. Macarty, Richard Pope Cooke, John A. Harrington (“ John Car. boy "), Fanny Aymar Mathews.

These volumes are handsomely bound in cloth, suitable for the library. The regular price is $3.00 each, except for Volume I., of which there are so few copies now in print that the price is fixed at $5.00. As the editions are very limited, those who desire to possess themselves of a record which will become more and more valuable, had better send their orders in at once.

BOUND VOLUMES. THE HE convenient size of THE THEATRE ren

ders it an admirable record of the stage, worthy of preservation on the book-shelf. There are twentysix numbers to a volume and four volumes are now ready.

VOLUME I. contains over 600 pages. Among the portraits—which in each instance are accompanied by an article--are those of Edwin Booth as Richelieu and Hamlet, Fechter as Hamlet, Dion Boucicault, Frederic Lemaitre, M. Got, Daisy Murdock, Henry Edwards, Henry Irving. Ellen Terry, Mrs. Shirley, Mrs. Gilbert, James Lewis, Whistler, James Beard, Gounod, Massenet, Ada Rehan, Modjeska, John Gilbert, Sarcey, Saint Saens, Octave Feuillet, etc., besides innumerable cartoons and illustrations of plays.

VOLUME II. contains over 500 pages. Among the portraits are those of W. E. Burton, Edgar S. Kelly, Madame Cottrelly, William Warren, Lillian Russell, Eugene Oudin, Wilson Barrett as Claudian, Mrs. Sterling, Pauline Hall, Geraldine Ulmar, Marie Jansen, Emma Carson, Bertha Ricci, A. M. Palmer, Lillian Grubb, Louisa Eldridge, J. H. McVicker, Edwin Booth as Hamlet, Edwin Booth as lago, Helena Modjeska, Mrs. Langtry, Booth as Lear, Helen Dauvray, Louise Pomeroy, Irving as Mephistopheles, Genevieve Ward, Annie Robe, and Lawrence Barrett as Riensi, besides innumerable illustrations of plays.

VOLUME III. contains nearly 600 pages. Among the portraits are those of Lester Wallack, Henry

Mr. Deshler Welch's weekly magazine The THEATRE, is, I am pleased to note, one of the most widely distributed of the lighter publications of the town. This is no more than it deserves, for The THEATRE is the most independent aud readable weekly in the country that is exclusively devoted to the stage.-From To-Day.

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