30. Braham's bt. Siege of Belgrade. April 17. Castle of Andalusia. = Pedrillo Ma 27. Never acted, Americans - American Indians -Furesco Horn: Kelko= Lovegrove: Lodina = Mrs. Mountain: Chittibaw Mrs. Bland :- British -Wilmot Braham: Mac Manus Johnstone : Dabble Mathews: Louisa Miss Kelly :-Americans Paul Tyrold Dowton: Martin Slow = Knight :-Africans -Zedekiah = Oxberry, &c. -this Op. in 3 acts, is attributed to acted 14 times Arnold and not printed. = = = : May 20. Never acted, Where to find a Friend. Sir Harry Morden Wrench: General Torrington Wroughton Heartly Dowton: Barny Mathews Timothy Scamp Oxberry Bustle De Camp Lady Morden Miss Duncan Miss Heartly Miss Kelly Mrs. Bustle Mrs. Sparks :-this C. was written by Leigh-it was acted but once at this time, but was brought out again at D. L. (as a new piece) Nov. 23 1815-Oulton says that this was Dowton's bt., but it is not said so in the bill-Oulton however is probably right, as the Gentleman who wrote the play was intimate with Dowton. 27. Johnstone's bt. West Indian with Horse and Widow. Killruddery=Johnstone: Ferret Knight. 31. Raymond's bt. Cabinet, with, 1st time, Morning Post, and Morning Herald. Doctor Bos = Dowton: Roger Sharp Knight: Miss Caroline Bos Mrs. Sparks: Madge Miss Bew:-after which (for that night only, and by permission of the Proprietors of the English Opera) Twenty Years Ago. Geraldo Raymond: Carlo Dowton: Count H = - = D'Essars (President of Police at Paris) = Penson : Jaques (his postillion) = Knight: Henri (son to D'Essars) J. Smith: Julia Miss Poole : Brunette (servant to Geraldo) = Miss Kelly -the scene lies between Biançon and Modena, in the Alps-Twenty Years Ago the Marquis D'Anglade had been accused of a robbery-D'Essars had sentenced him to the rack- D'Anglade, after having been racked, had made his escape-he had assumed the name of Geraldo Julia had been patronized by Madame D'Essars-Henri had fallen in love with her-her father had forbidden him to think of her-Julia had left the Count's house that she might not be suspected of wishing to obtrude herself upon the family -the Count believes she had gone off with his son -at the opening of the piece the Count and Henri are in pursuit of Julia, but separately-Julia and Carlo lose their way near Geraldo's cottage-Geraldo is prevailed on to admit Julia into his houseD'Essars enters-Geraldo knows him-he does not know Geraldo-Geraldo and Julia make their escape, but are overtaken by D'Essars-D'Essars says that Julia is the daughter of D'Anglade-some soldiers by his orders seize on Geraldo Henri entersand then Carlo-the latter brings a Gazette, from which it appears, that D'Anglade's innocence had been proved, and D'Essars had been dismissed from his office- Geraldo gives his daughter to Henrithis is a moderate Melo-drame by Pocock-it came out at the Lyceum in the summer-the Morning Post and Morning Herald is not printed-it is not even mentioned in the B. D., or by Oulton. June 3. For bt. of Mathews. Inkle and Yarico, with Critic. Puff (for that night only) = Mathews ! Sir Fretful Mathews !! 5. Melvin's bt. Suspicious Husband. Ranger = Melvin Clarinda Miss Duncan : with Blue Devils. Megrim = Melvin :-and Review. John Lump (for that night only) = Melvin Caleb Quotem = Mathews. 6. For bt. of Smith, and Miss Kelly. Plots! or the North Tower-Dowton-Knight-Miss Kelly, &c.-with Modern Antiques. Joey Mathews : Nan Miss Kelly, 1st time. = Plots came out at the Lyceum, as English Opera House, in Sept. 1810—it is attributed to Arnold -the songs only are printed with the following D. P. Baron of Hexamdale Dowton: Earl Malcolm = Horn Gondibert Philipps: Hubert = Smith: Austen Penson: Arnulf Knight: Lurcher = Oxberry Frederica Miss Grilietti: Laura Miss Kelly:- Scene on the borders of Scotland and Northumberland-see Oulton. = = 18. (Last night) Clandestine Marriage. = As the Company were weak they very properly trusted to new pieces and Operas. * * Raymond in his address at the close of the season said-" The exertions which were found necessary "to keep pace with the powerful attractions of a "new species of performers (the Quadrupeds of "C. G.) you have fully appreciated to make "one comment on the good or injury these new and "well-trained actors may do to the drama, or its pro❝fessors, would in me be presumptuous-if however, "genius, wit and true morality, shall still be allowed "to maintain their power upon the British stage, "and by their well-directed force uphold the pure "taste of the legitimate drama, the Proprietors of "this theatre pledge themselves to continue their "labours," &c. (Dram. Censor.) THIRD THEATRE. In 1810-1811, a 3d theatre was much talked of both in and out of Parliament-it was chiefly owing to the exertions of Mr. Whitbread in settling the affairs of D. L., and to his opposition in the House of Commons, that the bill for a 3d theatre did not pass the advocates for that measure seem to have overlooked one material point-as Colley Cibber said to Christopher Rich on a similar occasion, "where are your actors?"--an Act of Parliament cannot create them, and money can only purchase such as there are the Proprietors of a 3d theatre would probably have seduced some few performers from the D. L. and C. G. Companies by the offer of a larger salary or better parts-(as John Rich did when he opened L. I. F. in 1714)-they must have completed their establishment from the theatres out of London-the latter measure would have been only forestalling the market-as it is, a performer who has distinguished himself in a provincial theatre, is pretty sure of an engagement at D. L. or C. G.sooner or later according to circumstances-the result of a 3d theatre must ultimately have been, that the theatrical talents, which existed, would have been divided by 3 instead of 2, and that consequently plays would have been worse acted in all the 3 theatres-rarely has it happened, that with 2 theatres there have been two strong Companies-the only rational plan on which a 3d theatre could have been opened, would have been to have confined it to the performance of Operas. The promoters of a 3d theatre had formed some very good resolutions. No freedoms of any kind, or orders, even to authors or performers, were to be granted, as they only serve to influence, or overpower the judgment of the public, as to the merit of plays or actors-and also they occasion cabals, by introducing partizans for insidious purposes or they are used as decoys, to give a false appearance to the theatre. The theatre was to have been built in such a manner as to afford the greatest possible security against fire-and to secure to the spectator and auditor the full advantage of sight and hearing, without forcing either the performers or the company to overstrain their organs. The prices were to have been-boxes 6s.-pit 3s. -galleries 2s. and 1s.-the size of the theatre was to have been little more than the extent of old D. L., which, exempt from renters and other free people, |