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much the worse for his souse in the river; the cardinal, with great humility, precedes him to the state bed-room, which is adorned with portraits of his various wives. His Majesty goes to bed; the candles put out, Discord appears, and the figures of the King's various wives walk from the pictures; they threaten the wicked monarch, throw their heads at him, and vanish. He starts from his couch, and falls on his knees a la Richard. The royal guards rush in, dragging with them the lovers. At this crisis Cupid and Hymen enter, and Happiness appears surrounded by her attributes, and the transformations take place. William and Lilla, by Happiness, are changed to Harlequin (Bologna), and Columbine (Miss Fawcett), Wolsey to Pantaloon, and King Hal to Clown (Flexmore).

FRENCH PLAYS.-The enterprising lessee of the St. James's Theatre will commence the season of French plays on Monday, January 15. An important alteration will be made in the entertainments, by the introduction of the Opera Comique, in addition to the vaudeville performance hitherto given at this theatre. The present embarrassed state of theatrical affairs in Paris having enabled Mr. Mitchell to form a most efficient company. Several one act operas, selected from the repertoire of the Opera Comique will be given, as well as the most popular works of Auber and others. Amongst the former will be-Le Maitre de Chapelle (Paer), Le Nouveau Seigneur (Boieldieu), Le Tableau Parlant (Gretry), Le Valet de Chambre (Carafa), Richard Cœur de Lion (Gretry). And amongst the latter-La Dame Blanche (Boyildieu), Le Domino Noir (Auber), Fra Diavolo (Auber), L'Ambassadrice (Auber), La Fidele Bergere (Adam). A full and perfect orchestra has been engaged, comprising many of the most eminent instrumentalists of the day, amongst whom we may mention Tolbecque, Barret, Baumann, Lazarus, Deloffre, and Pilet.

THE HISTRONICS.-ST. JAMES'S.-On the 20th ult. the St. James's Theatre was devoted to a performance of the Histrionic Society. A New Way to Pay Old Debts was the play selected for the occasion. Mr. Palmer, as Sir Giles, acquitted himself with considerable eclat. His conception and performance of the character, with some few trifling excep

tions, were extremely correct. He represented the grasping, avaricious, and worldly-minded hero of the piece with great ability, and much artistic and dramatic skill. In some parts where he failed it was evident that the failure was attributable more to a want of practice and stage experience than to any deficiency in natural ability. The part of Jack Marral, was performed with great humour by Mr. Riddle. His personification of the character drew down loud applause from all parts of the house. The part, however, we should be inclined to say was played with most success was that of Justice Greedy, by Mr. Knight. He displayed a depth of humour, and evinced throughout a just and natural appreciation of the character, which made it tell with the house. Mr. Price, as Lord Lovell; Miss De Burgh, as Lady Allworth; and Miss Benson, as Margaret, also acquitted themselves very respectably. The performances of the evening were concluded with Cousin Lambkin and The Railroad Station. The latter especially kept the audience in roars of laughter. We were glad to see that there was a very full attendance.

MARYLEBONE.-The Edgeware and Paddington population will be delighted with a grand comic pantomime, called One o'Clock, or, Harlequin Hardyknute, the Knight, and the Wooden Demon, the subject of the introduction being the well-known melodrama of which the title is parody. The opening, which will be remarkable for its scenic splendour and elaborate mechanical changes, commences with a scene in which a number of imps are discovered sawing trunks of trees, planing planks, and variously employed in carpentry, when Sam Greedy, the demon carpenter, appears, and being highly pleased to find his subjects at work, promises them for supper a chubby brat; he then departs for the purpose of seeking Hardyknute, and claiming the aforesaid dainty. The demons disappear, and the weather clearing, brings Pauline from her cottage, in time to shelter Leolyn, the rightful heir of Holstein, who has been stolen by gipsies, from whom he had just made his escape. His pursuers are at his heels, and at the suggestion of Rolph, a peasant, the boy climbs a tree till the gipsies have departed. The boy is then secreted in the cottage, and the scene changes to Auriol's abode in the Regions of Light, where Una is discovered sleeping, while groups or fairies flit around her couch. Auriol now discloses in a vision

the fate that awaits Leolyn, and the base designs of Hardyknute, who shall continue his career of triumphant guilt until the hour of ONE shall give the demon power over his victims. Una is then transported to her own apartment in the Castle of Holstein where she awakes, and while ruminating on her vision, Clotilda enters with the boy, who is instantly claimed by Guelpho, senescal, to make one in the pageant of "The Seasons," and, spite of the efforts of Una and Clotilda, is borne away. The next scene shows the Copper Castle and Court-yard of Hardyknute; a procession of knights, soldiers, pages, captives, retainers, peasants, and banner-bearers cross the drawbridge, with the manacled Hacho, a giant of some standing, and the knight Hardyknute, whose valour is so overpowering that he is obliged to keep his sword securely padlocked to prevent mischief in the world. A combat takes place between the rival heroes, but the knight soon overthrows his enemy, and puts him to bed. Hardyknute then gives liberty to the captive princesses, who snivel out their gratitude, and the pageant of "The Seasons, accompanied by the Twelve Months," takes place. Hardyknute, observing the mark on Leolyn's wrist, resolves to make him his victim, and commands him to be placed in the state bed. The scene then changes to the Chamber of Apparitions, where Hardyknute is warned by phantoms and spectres of his intended fate should he persevere in his wicked intentions towards the boy. Like King Dick, he is not to be frighted by shadows, and resolves to complete his fell design. The scene then shifts to the State Bed-chamber in the castle. Leolyn reposes on the bed, and Una, the faithful, loving Una, wearied by incessant toil and watching, slumbers o'er the embers of the fire. Fairy elves throng the chamber, and Auriol, appearing, rebukes the sleeping girl. Hardyknute afterwards enters through a secret panel, and attempts the destruction of Leolyn, but is foiled by the spirits of Ruric and Alexina. The demon gives warning that his prey must be rendered up, and Hardyknute, in desperation, again attempts to kill the child, when Una, by the suggestion of the guardian genius, makes the clock strike One-the fiend is baulked, and the transformation of the characters takes place. The harlequinade then commences, in which hits at the principal events of the present time are plentifully scattered about:

Baths and Washhouses, County Court, Yorkshire Stingo, soap for the million, the star system and manager Bunn, JANUARY, 1849.-NO. I. VOL. XI.

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Shakspere between two stools, Clown's method of scouring the multitude, goose clubs and monster sweeps put down by law, Twelfth-night, and the Queen's visit to Scotland, public soup kitchens, the visit from the French National Guards, alterations at Buckingham Palace, Cremorne Gardens, balloon explosions, and the arrival of the great sea serpent, finishes the career of the comic characters. Finally, the scene changes to a dismal swamp, where the poor lovers are captured, when the Abode of the Good Spirit is discovered, and the piece ends with a fairies dance, amidst brilliant illuminations and coloured fires.

QUEEN'S.-The Maid and the Magpie; or Harlequin and the Magic Spoon, is the title of the pantomime at this house. It commences in the Abode of Jolly Boxing Night, who is discovered in his Palace of Plum Pudding, sadly perplexed to know what subject to fix on for a Christmas revel, when his friend Pantomime arrives, and hearing that he wants an idea, shows him the Magic Magpie. Boxing Night determines on sending the Magpie to earth, to cause all the mischief he can, and lure, if possible, mortals into his caverns, there to become his victims. The scene then changes to the Dell of Magic Fountains and abode of the Fairy Queen Goldenray, who summons her attendant sprite, and informs them that Boxing Night having sent to earth a fiend in a magpie's shape, they must repair thither also, and watch the movements of the demon. They promise obedience, and the scene changes to the outside of the farm cottage, where the Baillie Bambooziem arrives, for the purpose of obtaining the hand of Annette, but meeting with a refusal from the young lady, he determines to be revenged. However, all his plans fail, and having been pitched into a well in the farmyard in an encounter with Richard, the lover of Annette, he hires two ruffians, Killanmaul and Cutanthrust, to carry her off, but in this attempt he is also frustrated by the lover. In the meantime the Magpie, who has arrived at the farmhouse, contrives to steal a spoon from the farmer's plate basket, with which he departs to his master's cave. Richard and Annette follow the thief, in the hopes of regaining the spoon; and the baillie and Stubblestalks, thinking the lovers have eloped, pursue them. When all are assembled in the cave, Boxing Night informs them that they are doomed to be transformed into spoons to deck his cavern;

he adds, that no power can help them while he holds the magic spoon stolen by the Magpie. Richard instantly seizes it, and the spell having been broken, Goldenray enters to aid the lovers. The change then takes place, the baillie to Clown, Stubblestalks to Pantaloon, Richard to Harlequin, and Annette to Columbine. The Clowns are Messrs. Harrison and Gray; Pantaloon, Mr. Linch; Harlequin, Mr. Ambrook; and Columbine, Miss C. Gibson.

OLYMPIC.-This theatre, during the recess, has been thoroughly renovated and re-embellished with great taste, under the direction of Mr. Davidson, and will open with a company considerably strengthened by the accession of new names of celebrity. The Christmas novelty is written by Francisco Frost, and is entitled William the Conqueror; or Harlequin Harold and the Sack of the Saxons. An induction reveals to us the Factory of Fun in the World of Waggery, where jokes, puns, parodies, and jests of all kinds are manufactured for the funny periodicals. Fun, in the last stage of exhaustion from the continuous demand made upon her of late years, is deploring her destitute condition, being now reduced to the last pun, when a further demand is made upon her for a pantomime. To meet this she draws "a bill for fifty puns at sight" on History, who discounts it, and the effects are consequently the Norman Invasion and its attendant incidents, of course treated in the usual facetious fashion of pantomime burlesque. The scenery successively presents us with the Castle of Hastings and the English Channel, a Dungeon deep beneath the Castle Moat, Pevensey Bay (where the landing of William the Conqueror and the invasion of the Norman National Guard takes place), and the Norman Encampment at Epiton. The opening displays a fair combination of fun and spectacle, and the subject has been treated very happily by the concoctor. The pantomimists are new to an English audience, but report speaks very highly of them, and the Clown, Mr. Barnes, is anticipated to prove a great card. The music, by Alexander Lee, is, of course, ali that could be desired, and there is every reason to believe the Olympic pantomime will be one of the great hits of the season.

SADLER'S WELL'S.-Messrs. Greenwood and Phelps appear determined that this suburban theatre, celebrated as the great

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