tured, volatile, and-if the whole truth must be told-a somewhat weak young man, weary of the cant and gloom which his wife, her lady mother, and Mr. Aminadab Sleek (Buckstone) mistake for piety. For peace and quiet's sake Charles enacts the hypocrite, though with a bad conbridge, and above all, in Benedick. And as | ments. Charles Torrens (Webster) is a good-nafor Beatrice, Mrs. Nesbitt's brusquerie and joyous sparkle, while they keep her heroine and her audience "o' the windy side of care," are at times too broad, and far too little feminine for the lovely lady who called Leonato kinsman. Mrs. Charles Kean, inimitable in Portia, Viola, and Miranda, is, as perhaps the necessary conse-grace, at home, and indemnifies himself for the quence of the fine qualities which render those restrictions by secret and profligate intrigues delineations perfect, somewhat less successful as abroad. His devoted friend, Captain Murphy the sprightly beauty of Messina. Mrs. Mowatt's Maguire, a warm-hearted, honourable, and ecBeatrice, as also her Rosalind, we consider fault-centric Irishman (well-played by Wallack), with less. Mirthful and light-hearted, she is gay and his lady-love, the gay and good-natured Widow caustic, but never flippant, still less vulgar; and Delmar, combine their wits to save him from though energetic, never hoydens; a coquette 'tis perdition; reform, without unnecessarily extrue, but an enchanting one, and at all times posing him; and teach his pretty wife that to emphatically a lady. Mrs. Mowatt bears in make a husband's home and fireside comfortmind that those who best knew Beatrice de- able is, after all, the best, if not, indeed, the only clared of her, "with a true judgment and a "way to keep him." swift and excellent wit, she was ever virtuous and Miss Reynolds represents Eve Torrens; and noble:" avoiding, therefore, Mrs. Nesbitt's even when disguised in a mob cap and higherror, she never lets her sprightliness degene-bodied, ribandless, slate-coloured sarsenet gown, rate into romp. In merry dialogue and spark- appears a very pretty little puritan. She proves lig repartee, we prefer Mrs. Mowatt's Beatrice Charles Lamb not altogether wrong when he to Mrs. Charles Kean's. In the impassioned declares that the Quaker sisterhood who attend scenes, where the best emotions of the sex are" May Meetings" in their close-drawn bonnets roused to vindicate the slandered and insulted and brown satin skirts, resemble " troops of "Hero," these two consummate actresses, far shining ones" as they trip along betwixt Charing superior to all other rivals, are, we think, in Cross and Exeter Hall. In the fifth act, however, merit equal. In a word, Mrs. Mowatt's Bea- when disabused of the unhappy error which had trice is the result of natural aptitude, enhanced all but alienated the affections of her husband, she by careful training and artistic skill; Mrs. shines forth triumphantly, and-as all women, Charles Kean's the triumph of judicious cultiva- saints or sinners, well know how to do-sets tion of first-rate abilities. When we say of forth her beauty to the best advantage. In a Dogberry and Verges that they were represented superb court dress she leads off a splendid ball, by Mr. Buckstone and Mr. Keeley, we need not in celebration of her Charles's birthday, apadd another word of eulogy: betwixt their re- proves herself a woman of spirit, taste, decision, spective merits we positively cannot decide, and good sense,-for like dear Lady Grace, she though they doubtless have, at least we suppose will do all things" soberly;" and convinces they must have, different degrees of comic ex- everybody, save perhaps Aminadab and Lady cellence. "If two men ride upon a horse," we Sowerbyare assured that "one of them must ride behind." "That young girls may be pious without being frights." THE OLYMPIC.-THE MARYLEBONE. "Time Works Wonders," by Douglas Jerrold, was last week revived (successfully), after having been laid aside well-nigh five years. Manager and performers seem alike resolved to justify the author's maxim. We liked the comedy, and we praised it, in 1845 in 1850, far from retracting, we would rather add to our commendation. Its plot exemplifies agreeably the well-known aphorism of a French phi-able places of amusement; and what is of far losopher "On revient toujours à ses premiers amours.” "The Serious Family" continues, as it deserves to be, attractive. Let no reader fancy from its title that it is a burlesque or coarse attack upon religion. It indeed offers pretty plain, and we are quite sure judicious, counsel to young wives, who, influenced by vulgar and absurd fanatics, and not unfrequently by well-meaning, but usurping mothers, drive husbands, too affectionate or careless to contend for "lawful A very serious charge of forgery or defalca tion, recently made against the lessee of these theatres, have caused both to be, we trust but for a brief season, closed. The play-going public are deprived of two of their most agree. more consequence, Mrs. Mowatt, Miss Fanny Vining, and Mr. Davenport, are for the present lost to the stage, since their professional engage ments are during the best part of the season vert more particularly to this most unhappy busiclosed. We will not, however, for the present adthe public, and we cannot be among the number ness; the charge but not the defence are before of those who "smite before they hear." SADLER'S WELLS. The revival of Massinger's chef d'œuvre, “A rule and right supremacy," to seek relief, from the New Way to pay Old Debts," is the chief ennui of a cheerless home, at the club, the bil-feature in the last month's management. Mr. liard-table, or in still less defensible amuse- Phelps is excellent in Sir Giles Overreach, a part suited to his style of acting as perfectly as though it had been originally written for him. Mr. Marston's Wellborn does great credit to his energetic elocution; and Margaret, though in itself a slight part, was so admirably well performed by Miss Edwards, as to justify completely the very favourable opinion we last month expressed of her Marianna; but we hope soon to witness her representation of some female characters which afford fuller scope for her fine talents. In the meantime, when next Miss Fitzpatrick repeats Charlotte, in the "Hypocrite," we with our whole heart and soul ejaculate, “ May we be there to sec!" STRAND THEATRE. The "Vicar of Wakefield," cleverly adapted from Oliver Goldsmith's most enchanting novel, has been eminently successful here. Crowded audiences alternately rejoice with the good vicar over the merry-making in the hay-fields; join with Dick and Bill in their hearty frolic at "Hunt the Slipper;" enjoy Moses' self-sufficient simplicity, and chuckle over his swopping the colt for the gross of copper-rimmed and shagreen-cased green spectacles; smile at Mr. Burchell's "fudge!" and alternately sympathize with and tremble for Olivia. The full force, however, of the company shines forth in the third act, where the lost Olivia's return to her heart-broken family, and the good Vicar's ruin and imprisonment, are consummated by the arch villain Thornhill. Mr. Farren's Dr. Primrose, Mrs. Glover's Deborah, and Mrs. Stirling's Olivia, must be seen and sobbed over ere they can be appreciated as they merit. Tears flowed on all sides on the evening of our visit, and we shall not, we hope, be deemed irreverent in our citation if we add, By such sorrow of the countenance the heart is made better." 66 B. | grand' finales to the first and second acts, Mr. Sims Reeves displayed all that breadth of style, power of voice, and manly vigour, for which he has been celebrated. The audience, pleased beyond measure, applauded to the echo, and recalled the singer vociferously. The greatest hit, however, during the performance, was in the last scene, where the composer has given a sentimental passage à la Bellini, to the tenor, followed by an important and noisy trio, the whole concluding with an elaborate death-scene. Mr. Sims Reeves acted and sang with decided power in this scene, thus finishing a very excellent performance with a climax which set the geal upon it, and confirmed the singer's triumph beyond all doubt. "Thus an important event in the season terminated most prosperously. Mr. Lumley has now no reason to complain of his strength in the tenor department. With Gardoni the graceful, Calzolari the flexible, and Sims Reeves the energetic, he will be able to satisfy the most exacting habitués of stalls and boxes." A new ballet, entitled the "Metamorphoses," with more plot than belongs to ballets in general, affords scope for all the elegance of Carlotta Grisi and Marie Taglioni. And while we are at press a new danseuse, Amalia Ferraris has achieved a complete triumph. Madame Sontag is announced to make her rentrée immediately after Easter. ROYAL ITALIAN OPERA. The extent to which our theatrical notices extend this month must be our apology for chronicling only very briefly the doings at the Royal Italian Opera. As our readers know, we have always felt a warm interest in the success of an establishment which introduced Alboni to a London public, and at which Grisi and Mario have sung their sweetest and acted their best. The two latter established favourites are, we believe, on their way to England. Meanwhile, we must announce the production of "Der Frieschutz" in a manner that we may safely assume surpasses all former performances. The Casper of Herr Formes was grand and impressive in the extreme, realizing the very ideal of the character. All who love music know thoroughly well the richness of Weber's genius; but nothing save hearing it, as it is now to be heard within the walls of Covent Garden, and witnessing its dramatic adjuncts, can convey an idea of what Der Freischutz really is. HER MAJESTY'S THEATRE. The "old" Opera House opened with the long-promised "Medea," in which Mademoiselle Parodi realised to the full the expectations of her admirers; but this opera belongs to an oldfashioned repertory, and is little likely to have a long run. We turn from it to announce the triumphant success of Mr. Sims Reeves in Verdi's "Ernani," a part which gave full scope not only to his vocal powers, but to his dramatic ability. We feel proud that notwithstanding the prestige in favour of Italian singers, an English tenor should, in their own arena, take the place of honour. Speaking of his first appearance, the Musical World says, "He was in MADEMOISELLE THEMAR'S CONCERT. great voice, and sang with unusual energy and dramatic feeling. His first cavatina, Come On the 14th ultimo this accomplished pianiste rugiada al cespite,' was rendered with intense-Mademoiselle Thémar-gave her annual conexpression, and brought down the loudest applause. In the cabaletta he managed the pianos and fortes with the best effect. The delicacy and purity of his singing in the duet,Ah! morir potessi adesso' (with Elvira), evoked a unanimous encore, maugre the absence of all kind of merit in the composition. In the two cert at Willis's Rooms, which were crowded on the occasion. In addition to the brilliant performances of the fair bénéficiaire herself, we were favoured with the exquisite playing of Signor Piatti on the violoncello. Signor Anglois (the celebrated contre bass of the Royal Italian Opera) managed to astound the audience with a display upon his favourite though unwieldy in- | altogether satisfy us: his execution was mechastrument; it was almost worked into musical convulsions. Herr Pigall produced no small sensation with his remarkable voice, with which, on a high note, he gives the effect of a hautboy: he sang an Austrian song, composed by Herr Haas, entitled "Das Sträuschen" ("Forget-me-attraction at this concert was a band of twenty not"), translated by Mr. R. S. Sharpe. Mr. Wrighton sang with his accustomed grace and neatness of expression, and Mademoiselle Shloss quite bore off the vocal wreath in several charming melodies which were entrusted to her. Miss M Korkell made a very promising début, and acquitted herself most excellently in the old and favourite duet, "The sailor sighs." Miss Hemming also made her first appearance as a pianoforte player; she is a pupil of Mademoiselle Thémar, with whom she played, in a cultivated style, Thalberg's grand duet, "Norma," for two pianos. Herr Hartnagel's treatment of his violin, or his violin's treatment of him, did not nically brilliant, but it appeared to lack soul and feeling, and his tone was frequently thin and scrapy. Music does not consist in merely conquering mechanical difficulties, and distorting the capabilities of an instrument. One great German amateurs, who sang some grand choruses (unaccompanied) in the true German style. Signora Anglois (prima donna of the Grand Opera, Turin) sang several pieces in a manner which deserves praise; and Signor Marras was not the least important vocalist among those who gave us the most unqualified satisfaction. On the whole this concert went off most successfully. Mademoiselle Thémar's pieces-" Concert Stuck," by Weber; a grand fantasia on "God Save the Queen," and "Rule Britannia" (her own composition), and Marche d'Otello," by Herz, elicited great and unanimous applause. La FASHIONS FOR APRIL. Near as we now are to the three days' promenade of Longchamps, nothing is yet positively known respecting it. Much, of course, must depend on the weather; but a good deal also on political prejudices. These prejudices, however, I think will hardly prevent our pretty republicans from showing their elegant spring toilettes, if the weather permit. I know that the orders given to our first-rate milliners and dress-makers are more numerous than they have been for some seasons past: indeed, we have already had some glimpses of spring toilettes on fine days, in the Bois de Boulogne, not only in the equipages, but even among the fair promenaders. The colours adopted in carriagedress are lighter than for walking; the robes are also more elegantly ornamented, and the chapeaux and capotes of a lighter as well as more dressy description. As yet promenade dress is, generally speaking, of the half-season kind; furs are entirely laid aside, so are large mantles; but velvet and satin pardessus, trimmed with lace or passementerie, are still seen. But I have observed, within the last few days, that they are giving way to Cashmere shawls, some of which, of new and beautiful patterns, have lately arrived. Several are copied from the vegetation of the country, superb gerbes, and panaches of the flowers and foliage of Indian corn, and other herbaceous productions of Asia; others are variously embroidered in different silks of rich and glowing colours, mingled with gold thread. The novelty and beauty of these shawls are likely to preserve their vogue during a great part of the spring, as, though warm, they are very light. Indian crape shawls, magnificently embroidered, will also be in great request; a good many of them have been seen in the Champs Elysées during the last few days. There is nothing yet positively decided as to the forms of pardessus, but I have reason to believe that the alterations will not be very great; they will be smaller in general than those of last year, and, until the weather becomes very warm, of silk only. The garnitures are not settled; but whatever novelties may be introduced, there is no doubt that lace and passementerie will keep their ground. Several spring capotes have already appeared; they are of gros de Naples; there is a slight, but as yet a very slight, alteration in the shape; the crown is flatter, and the brim perfectly round, and very open towards the edge. Some are drawn shapes, others bouillonnés, and a third sort has the material disposed in very small bias plaits, brought over one another, somewhat in the form of gerbes; these last have no trimming on the exterior, but the interior is decorated with small early flowers, or half-blown roses-mignonnes. Those bouillonnes have the exterior decorated with tufts of violets, snowdrops, or other early flowers, and the interior ornamented with flowers to correspond; sometimes mingled with blonde or tulle. The garniture of those that are drawn is generally a row of scalloped blonde, drawn full between each runner on the exterior: this style of trimming, though it has been some time in vogue, is still much in favour, and likely to continue so. As the brims of the new capotes and chapeaux are so very open, they are very full trimmed; some are decorated with a miniature ruche in tulle de soie, or a quadruple crete de blonde; a garniture of white thorn blossoms without foliage is also in great request, and so is a petit cordon of ostrich feathers. I observe that, generally speaking, the chapeaux and capotes that are very full trimmed in the interior, have the exterior decorated in a light and simple style. of the season. Italian and rice straw chapeaux will, I am assured, resume all their usual vogue at the opening The former are expected to be more in request than they have been for some seasons past; but, as usual, to be really fashionable they must be of the very finest kind. A good many are expected to be seen at Longchamps. Their garniture used formerly, in the beginning of the season, to be always feathers; but flowers will, I think, this year be equally employed. The feathers are follettes, or willow plumes, formed of the beards of marabouts; they may be either white or straw-colour; the follettes may be either white or straw-colour; but if the latter, they are shaded from the lightest to the deepest tint of the hue. Very little ribbon is employed; it corresponds with the feathers. The only flowers I have as yet seen on these chapeaux were roses of different kinds, and lilacs; the latter are white, or else of two shades of lilac-one very light, the other very deep. The interior is trimmed with small flowers, disposed in ruches-that is, there are two rows put close together on each side. Lilacs, disposed in tufts, wreaths, and sprigs, are also employed for chapeaux of paille de riz; they will, I think, be in a majority; but all the early flowers particularly violets, crocuses, and daisies-will be fashionable: so will a great variety of other flowers, especially the large and beautiful family of roses. Some new garnitures are of ribbon, intermixed with small tufts of fruit blossoms, or trefoil. Feathers will, no doubt, be employed for chapeaux of paille de riz, in half-dress; but as yet I have seen very few decorated with them, though there is a great variety of fancy feathers of a novel and pretty kind. Some of the most elegant rice-staw chapeaux now prepared for Longchamps are trimmed with coloured blonde ribbons, either disposed en écharpe on the brim, or else in a knot, with floating ends on one side. Another pretty style of garniture is composed of long sprigs of velvet foliage, drooping in the manner of a feather, and almost as light and flexible; it is accompanied with ribbons to correspond. A good many are decorated with long clusters of oats, intermingled with blades of grass, attached to the crown by a small bouquet of hedge-roses; and the interior ornamented with tufts composed of coques of ribbons of various colours, intermingled with blonde, or tulle bouillonné. The most admired of the few trimmed with feathers are those that have an ostrichfeather with marabout-tips, shaded in pink or blue, placed on each side of the brim, under a traverse of ribbon of the same colour; small tips of marabouts, of a corresponding hue, decorate the interior of the brim. The capote form will be a good deal adopted for the promenade, those composed of silk will be either taffeta, or gros de Naples. Fancy materials for chapeaux and capotes are very numerous; but their vogue is not yet decided. One that is certainly novel is ribbon, tressed like the broad plaits of coarse straw; another is, bands of passementerie, resembling embroidered entre-deux, alternating with bands of paille de riz. White crin, nearly as transparent as tulle, lightly spotted with velvet, will, it is reported, be in favour. I have seen another novelty that is expected to be fashionable—it is a capote entirely formed of bands of very rich gauze ribbon bouillonné, each band edged with a narrow lace ruche. Fancy chapeaux, that are likely to be very much in vogue both for elegant promenade and half-dress, are composed of crape and taffeta lozenges, interwoven. The garniture was a chute of marabout-beards drooping on the brim, and a double ruche of early flowers in the interior. Crape, gauze, and tulle capotes will be very fashionable, both in carriage and half-dress. Some that will appear at Longchamps are of crape, covered with tulle, embroidered in light and varied coloured spots. The most elegant are those of white tulle, spotted in straw-colour; they are trimmed on each side of the exterior with a bouquet of épis, mingled with oats of the same colour; the interior is decorated to correspond. Silks will this year be, as usual, the only materials adopted for robes, either for elegant promenade or half-dress. A good many spring silks have already appeared; I may cite, as the most admired, the foulards écossais; they are large plaided patterns formed by a number of very narrow stripes; taffetas, of an unusual variety of patterns; there are the caméléon, pekiné, mordine-all glacé. The caméléon was in great vogue a few seasons ago; it will, I think, be very fashionable this summer. are also taffetas plaided in large squares, and others striped in broad stripes; each stripe formed by a number of others almost as narrow as a thread. The richest of the new silks are the summer damasks, in Scotch plaid patterns; and others, brochés, or in guirlandes colonnettes of flowers. I should observe that for promenade robes, of an elegant quiet kind, spring levantines will be in great request. There It seems evident that redingotes will lose nothing of their vogue this season, either for public promenade or half-dress. I have seen, among those prepared for Longchamps, several of green and lilac taffeta glacé de blanc, the corsage quite high at the back, opened in a narrow V to the middle of the bosom, a revers deep at the back, and on the shoulders descending in a sharp point to the opening, terminating, under one of the new fancy-silk brandebourgs, very richly wrought in open work, with three small tassels depending from it. A light embroidery in soie torse, to correspond, encircles the revers. A second brandebourg is attached to the point of the corsage; and a succession of them, progressively larger, decorates the front of the skirt. Two montants, in the robing style, descend from under the point of the corsage; they are nar rowed almost to a point at the top, and are parted only by the brandebourg, but gradually widening, and leaving a considerable space between, forms a tablier, embroidered to correspond with the revers. The sleeves, a quarter length and rounded at the bottom, are worked round the border to correspond. entre-deux; others, particularly those of Scotch cambric, are ornamented with entre deur only. Cambric and jaconet muslin robes-peignoir are beginning to be a good deal seen in morning three-home-dress: they are made high, with a casing at the waist. The sleeves remain progressively wide, and rather short: the most elegant have the robe encircled by an embroidered entre-deur. Caps are a good deal worn with these robes, but as yet there is no actual change in their form: their elegance, indeed, depends principally on the garniture. The Fanchon is a favourite: it is a half-square; the hind-point falls a little over the hair, partially veiling, without concealing it: ribbon brides are attached to the side-points, by choux of either lace or ribbon, and tie in a full bow under the chin. These points are very small; they may be composed either of lace or There are two other forms of corsages adopted for fancy silks, but they depend on the description of the patterns. If they are very large and showy, the corsage is made quite up to the throat, a little pointed, and closed from top to bottom. These corsages have got a new name: they are à la Marie Stuart. The trimming is either a ruche à la Vielle, composed of a ruban à deux tétes, scalloped or festooned; it must be in corresponding colours: or another, and more novel style, is a garniture of the same material, in those large hollow plaits called gueles de loup; the effect of this last is very pretty. Where the patterns are small, the corsage is tight, and rather long; a narrow opening in front descends nearly to the bottom. The trimming may be either a chicorée to correspond, or, what is richer, though not more novel, a ruche of narrow scalloped black lace; this last harmonizes perfectly with grounds bleu de France, vert chou, groseille, and rose de chine— colours that will be very much in request. The sleeves of these redingotes are either à la Seirllane-that is, they open under the arm, or else of the pagoda-form; in either case, they are always short enough to display a good deal of the under-sleeves, decorated with rows of lace placed one above another; they are open and rather wide at the bottom; consequently they descend upon the hand, but moderately so. Morning dress has already assumed a good deal of the lightness of spring. Cambric peignoirs are displacing Cashmere robes de chambre, and if the latter are still adopted, a good many are composed of poussière, or pearl grey mousseline de laine, of a more than usually transparent kind: they are lined with pink florence. Some are made with a pelerine, deep on the back and shoulders, but very open before: it is trimmed, as is also the fronts of the dress, with a broad flat band of passementerie, of a darker shade than the dress. I do not perceive any change in the form of peignoirs, but as yet they are worn only in the bedchamber: they will, probably, as the season advances, be adopted during a great part of the morning, and will then be very elegantly trimmed with lace and embroidery; for it is supposed that the taste for expense in dress, which has succeeded to our late system of economy, will be continued during the summer. The caps worn with the peignoirs I have just cited, are composed of jaconet muslin, or of French or Scotch cambric. Those of a round form, without being absolutely laid aside, are beginning to be replaced by some with brides of the lappel kind, or else with those finished with short ears and ribbon brides: in either case the caul is rather large: they are embroidered in feather-stitch; some, also, have embroidered embroidered tulle. My fair readers may perhaps recollect an attempt made some years ago to bring in a négligé brought in under the name of deshabille Pompa dour. The material employed for these dresses was printed muslin, of the large flowered patterns usual in the old-fashioned chintzes. They were full-trimmed, with flounces. Neither the form nor material was in good taste, and they were consequently very little seen; but in our present rage for reviving the modes of the palmy days of the monarchy, it is possible they will come in again; but as yet nothing is decided. It is reported, also, that casaquins will be adopted in home négligé as soon as the weather is sufficiently warm to permit our wearing them. They are Camesoles of a large size, made in bril lante, or in muslin brochée de Saint Quentin, or embroidered. They are trimmed round with a festooned garniture à la Fontarges; that is, a scalloped flounce, and worn open over a petti coat to correspond, and similarly trimmed, but with a heading to the flounce. I doubt very much that this déshabille, and the Pompadour, though both may be introduced, will stand their ground for any length of time; nor do I think they would ever become favourites with ladies of good taste in dress. that dated from Louis XIV. time: it was Whatever changes may take place, and no doubt there will be some in the forms of robes, I know that the corsage Raphael will keep its ground most probably during the whole of the summer: it is peculiarly calculated for that season, as it is quite a juste milieu between high and low dresses, and therefore well adapted for that simple style of evening dress, to which the French give the appropriate name of négligé du soir, if it is made with short sleeves and worn without a chemisette; if intended for morning dress, the sleeves must be either long or a threequarter length, and a chemisette is indispen sable. These corsages can be made either in cheap or expensive materials, and trimmed in various ways. Some that have just appeared are composed of light-coloured spring silks; the centre-piece and the sides of the corsage embroidered either in different shades of the same |