Mat Mr. Fawcett is a useful actor, and bustles through a great deal of business; but the audience would often thank him to make a more moderate use of his lungs, and to be more perfect in the words of his part. Mr. Remington and Mr. York set him a good example in that respect.

Mr. Shaw has no pretensions to notice as an actor, and his vocal merits are very indifferent. His voice is low and weak, and he seems to have a very slight knowledge of music.

Of Miss Macauley's exertions, I am afraid it is not in my power to speak favourably. Her face and figure are far from attractive, and are neither adapted for tragic dignity, or comic animation. There is a coarseness in her manner, which, in comedy, renders her attempts at vivacity disgusting, and her dresses are so tawdry and shabby, that her appearance resembles a waiting-maid arrayed in cast-off finery. In tragic parts of cold declamation, where pathetic expression, and an amiable appearance are not required, she is respectable; and she is evidently by no means deficient in sense and judgment; but the invariable harsh and stiff coldness of her manner, quite unfits her for the representation of any character of strong feeling and passion.same souls a

Miss Simpson has great merit in hoydens and chambermaids, but is by no means adapted for the first line of tragic and comic parts. She has, however, tones of voice that bespeak a great degree of feeling; but by continually making use of them, her acting, in the sentimental style, is apt to degenerate into a whine. The tone of her voice, and expression of her features, bear some slight affinity to those of Mrs. S. Kemble, whom she has been thought to resemble: she would do well to copy the chaste style of that admirable actress, and avoid the monotonous loudness she is too apt to indulge in, and which very often resembles a continued scream. If Miss Simpson takes pains to overcome her present defects, I doubt not she will make a considerable improvement; for she certainly possesses vivacity and feeling, a pleasing voice, distinct enunciation, and an expressive, though not a handsome face; but even if her merit were greater than it is, the smallness of her figure must ever prevent her success in the line of first-rate characters.

Miss King, our only singer, has a powerful, sweet, and flexible voice. She might, by attention, become a very finished singer, if her ear be not incorrect, of which I am rather afraid, as she is apt sionally to sing very much out of tune. Could she acquire a e a greater degree of correctness, and endeavour to infuse a little more of elegance and expression into her songs, it would be of greater advantage to her than her continual practice of the bravura style, in which already she possesses great powers. It is unfortunate, that her manner on the stage seems too certain of success, and she has, from her wish to appear grateful for applause, an air of conceit, which I am certain is not real.

She would do well to attend a little more to the graces of action, which are very necessary for so clumsy a figure, and in which she is extremely deficient. um ad of bas,, zuhul end

The public have to thank Mr. Macready for having very liberally engaged Mr. and Miss Holman for twelve nights, though I am sorry to say, during their visit here the theatre was by no means attended in the manner it ought to have been.

Mr. Holman played Hamlet, Beverley, Muckbeth, Lord Townley, Rolla, Benedict, Jaffier, Don Felix, Romeo, Duke Aranza, Othello, Horatio (Fair Penitent), and, for his own benefit, Alexander. Though his action and manner are uncommonly elegant, his face and figure are certainly not now in his favour; and his voice, though admirable in volume and extent, is deficient in pathetic feeling; indeed the want of pathetic expression is his greatest defect. In elegant declamation he is very superior, but it is in the delineation of the stronger passions that his genius shines forth with the most astonishing power. His performance of the first four acts of Othello was almost beyond conception ; its effect was electric, and can never be forgotten by those who witnes sed it.

:

Miss Holman played with great effect the parts of Lady Townley, Cora, Beatrice, Belvidera, Violante, Juliana, Desdemona, Calista, and Statira. She is yet very young, has a most elegant figure, and a face, if not perfectly beautiful, at least highly expressive and interesting. Her action, though as yet unformed by practice to the degree of elegance it will shortly attain, is uncommonly correct and pleasing and she has a degree of self-possession, energy, and distinct ness, seldom observable in so young an actress. Her comedy is play ful, elegant, and easy, and her tragedy bold and effective, yet never overstepping the modesty of nature." Like her father, she excels in violent passion and declamation, and most fails in the expression of simple pathos. Her Calista was a most admirable performance; every transition of a high spirit struggling under a disgraceful passion and degraded situation, were most forcibly depicted. I have no doubt that Miss Holman, if she continues the attention to her profession she at present so evidently bestows, will ere long become one of its brightest or

naments.

Mr. and Miss Holman have now left us for Edinburgh, where I understand they are playing with the success their great merit so well de

serves.

The benefits have already commenced, and have been hitherto very favourable. It is understood that the season is to close before the end of this month, and that the theatre will not be re-opened, except for the race and assize weeks, till the commencement of next winter.

a message. These last disgrace an otherwise respectable company; to which a good man-singer, a female possessed of vocal talents for opera, a genteel young man of good address and light figure for comedy, an active harlequin, and agile columbine, would be a most valuable addition. Our company without these is very incomplete; indeed it has happened this season, that one performer has played two parts in the same piece, an inexcusable liberty in a theatre which formerly ranked amongst provincial theatres very high, and which might still be considered as preparatory to the completion of the last wishes of all actors. and actresses, that of introducing them with every chance of success upon the London boards. I had forgotten Mr. Smith, who has corrected, but not completely reformed himself in that pompous monotony of speech which distinguished him last year.

Norwich, May 10, 1809.

ON THE DUTIES REQUIRED OF THE LEADER OF AN ORCHESTRA.

THE life and the energy of the members of an orchestra consist in the representation of extensive works of art. As the performance is conducted by the leader or the principal member, it follows, that the chief must be a connoisseur in the real sense of the word:

A. Of music in general as an art, of its nature, conditions, combination with other arts, particularly with declamatory poetry.

I. Of the creation of musical works in purticular, so as to how a musical idea is begotten and formed into tones according to rules of art, and to what conditions it is subjected by the fundamental doctrines of harmony. From this knowledge of the spirit and grammar of composition, which requires both talents and application, may be drawn:

1. The capacity to judge single pieces of music, which point leads to the following smaller ones:

a. Selection of the music to be performed. years to suganenie wsian b. Study of the work by the score part; from whence follows:

c. The individual character and every requisite for the performance thereof; for instance, the time, which the leader should exhort each member to preserve, and—

d. A careful examination of the written copies." repres

II. The leader must have a thorough knowledge of the practical part of the art in general, namely:

1. Of the instruments applied in the representation of her works: