indeed, will obtrude, conscience shall be satisfied. It is a sermon, if you will, but if you will, also, it is a poem.

* **

NO such sermon, no such poem, is to be found

in the actions of Dick Phenyl.

The truth in nature is that drinking brings disgrace and misfortune upon the victim and his family and friends. We have known this to be so, have we not, dear friends?

Then the picture of Dick Phenyl, a drunkard, not reforming till the last act, drinking before

self," says Cedric to the hardhearted, kinhating old tyrant before him, and we are immensely. tickled, because of the contrast of the two natures.

All through the play these contrasts tell, and they even penetrate into the street, and the photographs of Little Lord Fauntleroy and the Earl of Dorincourt seen in the shop windows seem to tell a story.

*

**

ness to all concerned, is untrue. Of course it is not his drinking which brings happiness, it is his goodness of heart, that is where the truth lies

which makes "Sweet Lavender" a success for the present, but he does nothing to overcome his habit of drinking, and his sin brings him no punishment!

You suppose when his lawyer enters and begins to read his uncle's will that the moral is about to be brought out. Surely Dick is going to lose something by being drunk at this critical moment? Now comes his punishment.

But, ye shades of Sheridan, Goldsmith, Jerrold, Taylor and Knowles, only great luck has befallen him. The bad part connected with it is that it proves Mr. Wedderburn, of whom we have to suspect nothing but good, has been neglectful almost to a criminal degree of his business!

No, Dick Phenyl is very near a Dickensy character, very nearly a true dramatic character, but the portrait is not true throughout, and the background too full of sunlight.

the play was about is as clear and distinct in his mind a week after seeing "Sweet Lavender" as it is a week after seeing "Fauntleroy?"' manly, lovable little boy conquering the pride of What was "Fauntleroy" about? Why, about a

a crabbed old man.

Yes, pride, that trait of which it has been said: "There is no affection of the mind so much blended in human nature, and wrought into our very constitution, as pride. It appears under a multitude of disguises, and breaks out in ten thousand different symptoms. Every one feels it in himself, and yet wonders to see it in his neighbors."

You want to get rid of it though, don't you, after seeing "Little Lord Fauntleroy?"

Alfred Grimm.

REMARKS BY THE PRESS.

Chicago Inter-Ocean:

The editor of THL THEATRE has evidently been impressed 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 both of these are imitative, the greatest artist being the one that comes nearest the best models and reproduces in color or stone-the beauties-and otherwise-of nature. Music is not imitative. To be a real 'composer' requires original talent, inventive ability, a soul, and a mathematical head. It also appeals to a large number than painting or sculpture."

New York Daily News:

The first page of THE THEATRE, the very c <>cellent dramatic, musical, art and literary weekly, of last week has on its first page a capital likeness of John Harring ton ("John Carboy"). The article which follows is a 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. "John Carboy" is one of the boys and abreast with the imes.

THE OPERA OF "PICKWICK."

MR. BURNAND, the editor of Punch, has

written a libretto for an opera on the subject of Pickwick's unfortunate misunderstanding with Mrs. Bardell, and Mr. Solomon has written the music. It has been produced very successfully at the London Comedy Theatre. In order to meet cantata exigencies Mr. Burnand has brought to life for the first time the mysterious baker who Pickwickian students will remember was mentioned in the case of Bardell v. Pickwick as a gentleman in whom Mrs. Bardell took a friendly interest. The curtain rises on the famous apartment in Goswell St. Mrs. Bardell is singing a ballad concerning the quart pot which closed the mortal career of her late lamented husband. And really if Mrs. Bardell was as agreeable a widow as Miss Lottie Venne makes her out to be, Mr. Pickwick might have done worse than taken her to his bosom. She is young and blooming, with a nice voiee, a wicked eye, and a mischievous smile. "Heigh-ho," "heigh-ho," sings the wily widow, with one eye

on Mr. Pickwick's bedroom door and the other on the window looking into Goswell St. She sings of lodgers :

There's in Mr. Pickwick's eye

A sparkling light, which I descry, Like a candle-flame that's burning round a thick wick; But alas! it only beams

In my very wildest dreams,

When he looks on me and murmurs "Mrs. Pickwick ! "

These meditations are interrupted by the entrance of Tommy, a chubby little chap with a piping treble, in cap, corduroys and comforter. Tommy is just off to take the letter offering terms to Sam Weller, and his anxious mother turns out from his pockets, in plaintive recitation, toffy, string, and so on. Tommy departs, and Mrs. Bardell sings:

Will he be bald or with curling locks on?
Will he be slim, or stout, or fat?
Will he be six feet two with his socks on?

A man "to look up to,"-no doubt of that.
Will he be always at home to dinner?

With what's set before him never be vexed?
Will he,-but there, be he saint or sinner,

He who speaks first is My Next, My Next!

Baker, baker!" shouts the Baker, and a long French roll is thrown into the room, followed by Mr. Rutland Barrington in the baker's dress of the period and a basket of bread. The meeting is followed by a crummy "Baker-roll" (one of the musical successes of the opera), with some very comic business. The baker pops the question, and produces a license, which only awaits the sign and seal of the "Wenus of widows" to complete his happiness. Not to-day, baker!" sings the coquettish Mrs. Bardell. To a Pickwickian symphony Mr. Pickwick enters, and a roar of laughter greets the wonderful make up of Mr. Arthur Cecil-the tights, gaiters, nankeen waistcoat, blue coat, collar and stock, gold spectacles, and the benevolent baldness of the im

"

mortal man. In song he ponders over the prolonged absence of Tommy “far away in the midst of the Borough." Then comes the famous misunderstanding. The minuet and the sympathetic duet in which Mr. Pickwick and Mrs. Bardell allude to hop-scotch, leap-frog, and sliding, in connection with the absent Tommy, are, we believe, not to be found in Dickens. At last comes the climax in which Mrs. Bardell falls rapturously into Mr. Pickwick's horrified and reluctant arms. Enter the indignant baker and Tommy; tableau and curtain, without Mr. Snodgrass, without Mr. Tupman, without Mr. Winkle, and without Mr. Weller. The comic cantata is thoroughly amusing and extremely well played; the libretto is in Mr. Burnand's best form, and the music is tuneful and full of absurdly amusing tricks by fiddle, flute and piccolo.

CRITICISM FROM BOSTON. MARCH 1.-During the past three weeks

there has been much to excite and gratify the dramatic and musical tastes of the Boston public. Deserving especial mention and praise, and easily leading in point of attractiveness and heavy receipts, were the two weeks' engagement of the Vokes company and the single one of Miss Julia Marlowe in this order at the Park Theatre. It is more than fortunate that Messrs. Abbey and Schoeffel are to release this house to its owner, Miss Lotta, and build one in the spring of becoming size and appointment, one

203

of the capacity to receive the following they command at will in this city. For it was the cause of bitter disappointment to numbers untold that the too short engagement of Rosina Vokes prevented them from enjoying a repertory, the equal of which in diversity and excellence of material and superiority of presentation, cannot be found on the English speaking stage to-day. All can not play the "early bird "game where the box office enacts the role of the "worm." A house sold out before the first performance stands in the light of a moral to those who read as they run across the path of this bewitching actress and her band of fascinating supporters. The same overcrowding attended the performances of Miss Marlowe, whose second visit this season has won for herself added reputation and honors. Her Rosalind captured the critics first and foremost, which leads to the remark that this week the town is saying, "Marlowe, Anderson, Langtry, Potter! Marlowe first! The rest nowhere!" And from the point of a true dramatic and artistic standard those who sit in "front" are right.

Shakespeare's plays are coming to again purify the stage of much that is vain and fleeting. But not even the beauty and grace of Anderson's Perdita, the inanity of Langtry's Lady Macbeth, the color, dressing and personality involved in Potter's Cleopatra, are the means to this end. As money-getting enterprises, these are successful, or have been. There remains, however, the consideration of that which many seek but do not find in these actresses, if the concensus of critical opinion throughout this country amounts to anything; also in confirmation of this, which is as strong as Holy Writ-the intelligent approval and applause of cultivated audiences are of infrequent occurrence, in this city at least, when sought for by these fair petitioners. Mrs. Potter's much heralded Cleopatra on Monday night at the Hollis Street Theatre, called forth an audience not to be improved on from any view.

Very surprising to the admirers of Gilbert and Sullivan, is the failure of "The Yeomen of the Guard" at Mr. John Stetson's house. In spite of the reputation of the author, composer, and Aronson's company from the New York Casino, the opera has failed to do a paying busi

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.

THE

BOUND VOLUMES.

HE convenient size of THE THEATRE renders 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 Iago, Helena Modjeska, Mrs. Langtry, Booth as Lear, Helen Dauvray, Louise Pomeroy, Irving as Mephistopheles, Genevieve Ward, Annie Robe, and Lawrence Barrett as Rienzi, besides innumerable illustrations of plays.

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

Irving, Augustin Daly, Constant Coquelin, Miss Rehan as Katherine, Miss Elsie De Wolf, Mrs. Wilber A. Bloodgood, Miss Kathryn Brady, Miss 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, John 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 C. 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, F. S. Saltus, Melvin G. Winstock, John M. Morton, Kyrle Bellew, Evelyn Harvier, W. W, Denslow, Henry Whiting, Olive Logan, F. Bellew, Harold W. Raymond, Clara Lanza, Louis Von Eltz, 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, Otto 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 Carboy"), 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.

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.