to avoid meeting him, he upsets the chairs, tables, &c. and in the confusion makes his escape. This concludes the first act. The second act is almost beyond the power of the most patient and persevering critic to describe. The whole humour consists in Peter's informing Mr. Aldgate that his brother Paul is a somnambulist, and he consequently alarms the whole house. The piece ends with the union of Middleton and Amelia.

This farce is the production of Mr. Peake, and very unworthy of his talents, having nothing to recommend it either in language, plot, incident, or character. The actors exerted themselves very much, and Liston of course produced a good deal of mirth when he is supposed to be walking in his sleep.

FRIDAY, Feb. 13.—Rienzi; Mitford.--Ballet.—Pantomime.

SATURDAY, Feb. 14.-Charles the Twelfth; Planché.-Master's Rival; Peake.-Pantomime.

MONDAY, Feb. 16.-Cymbeline; Shakspeare.-Pantomime.

TUESDAY, Feb. 17.—Charles the Twelfth; Planché.—Master's Rival; Peake.-High Life below Stairs.

WEDNESDAY, Feb. 18.-The Slave; Morton.-Ballet.-Der Freischutz.

THURSDAY, Feb. 19.-Charles the Twelfth; Planché.-The Portrait of Cervantes; Griffulhe.-Pantomime.

FRIDAY, Feb. 20.-Rienzi; Mitford,-Ballet.-Giovanni in London;

Moncrief.

SATURDAY, Feb. 21.-Peter the Great; or, the Battle of Pultawa (first time). The Haunted Inn; Peake.

Dramatis Persona.-Peter the Great, Mr. YOUNG; Charles the Twelfth, king of Sweden, Mr. COOPER; Alexis, Mr. J. VINING; Menzikoff, Mr. YoUNGE; Dorinski, Mr. AITKEN; General Brandt, Mr. THOMPSON; Koriac, Mr. BEDFORD; Max, Mr. SALTER; Jasper Addlewitz, Mr. LISTON; Swartz, Mr. W. FARREN; Paulina, Miss E. TREE; Illo Addlewitz, Miss Love; Briska, Mrs. C. JONES.

The first scene is a street in Moscow. The piece opens with a chorus of peasants, and the appearance of Jasper Addlewitz, accompanied by his bride Illo, whom he has brought to Moscow for the purpose of receiving a wedding present from the Palatine Menzikoff. After this has been arranged to the satisfaction of Jasper, and the peasants, &c. have departed, Swartz enters, who is an old weather-beaten and proscribed

soldier. Though possessing a benevolent heart, his disposition has become rugged and soured, through the loss of his only child, who fell at an early age the victim of seduction. Her betrayer was Dorinski, who has turned a traitor to his country, and is at this time serving under Charles the Twelfth. Swartz is also bitterly incensed against Peter the Great, for having banished to Siberia his master, the chief of the Strelitzers, a powerful nobleman. In this disposition he meets with Koriac, who is at the head of a conspiracy, chiefly followers of the banished chief, who are preparing to overthrow Peter. Swartz gladly joins Koriac's band, and receives a paper containing the names of the principals. A procession of monks and students crosses the stage; amongst the latter is Alexis, son to the exiled chief, who has been placed by Peter in the university at Moscow. Swartz so works upon the filial feelings of Alexis, by the description of his father's sufferings, that he vows revenge. At this juncture a guard enters, seizes upon Swartz, and bears him off. Koriac embraces the opportunity, and wins upon Alexis to join the conspiracy, who are to meet that very night. We now come to Peter the Great, who is busily preparing for the opening of the campaign. He reproaches himself for having banished the chief of the Strelitzers; he therefore orders a free pardon to be made out, which he signs, restoring him to all his former possessions. An officer enters, and presents the paper containing an account of the conspiracy, found upon Swartz. Peter orders the veteran to be brought before him. Swartz, not at all intimidated by the dignity of the Czar, rates him in good set terms for his cruelty towards his chief: to which the benevolent monarch replies by presenting him with the royal pardon. The rough soldier's feelings are overcome with joy and gratitude, and from that instant he becomes devotedly attached to the Czar. He takes him aside, and gives him the pass-word to the meeting of the conspirators, and hurries off to communicate the joyful tidings to Alexis. Peter resolves to go in disguise, and meet the band; and orders his guards to be near the house, but not to

enter.

We are in the next scene presented with the assembly of the conspirators, who, preparatory to commencing their operations, sing a long chorus. Alexis enters, followed by Peter, who mixes with the crowd. Alexis harangues the band, vows to conquer or perish with them, and departs. Peter boldly stands forward, and throws off his disguise. All the conspirators, save Koriac, shrink back dismayed; but he rushes forward to kill the Czar, and is instantly shot by him for his temerity. Peter now demands the man to stand forth who wishes to be his successor, but the whole band appear paralized. The guards, alarmed by the report of the pistol, rush in and secure them; and the act concludes with the prisoners singing a chorus.

The second act opens before the palace of the Czar.

Swartz having at length found Alexis, informs him of the royal cle

mency. Peter comes forward, and sarcastically observes to the youth, who is covered with shame and confusion, that " as a reward for having placed him in the university, he had the satisfaction of hearing his maiden speech." An officer enters to state that the council have doomed the conspirators to death; and requests to know the fate of Alexis. Peter replies that he will leave it to the council; "for the hand that trembles with indignation is ill fitted to hold the scales of justice." The Strelitzers are led in as for execution; the word is given; they throw aside their cloaks, and appear in full Russian uniform; for Peter has generously pardoned them, and places Alexis at their head. We now come to the camp of Charles, who is confident of victory, and “ eager for the fray." The miller Jasper is introduced, who comes with a long complaint of the damage done to his mill by Charles's soldiers. Charles promises he shall be redressed, and the miller departs, after giving the king a bit of advice. Alexis enters with friendly overtures from Peter, which Charles declines, and prepares for immediate battle. The next scene is before the mill of Jasper. Swartz enters, in great agitation on account of the loss of his daughter, Paulina, or rather supposed daughter, as she is the offspring of the ill-fated victim of Dorinski, and who loves and is beloved by Alexis. Paulina is, however, presently brought in by Dorinski, who has just rescued her from a party of soldiers : though ignorant of the consanguinity between them, he feels a deep interest for her, and places her in the cottage of the miller's mother, Briska. The Czar, separated by accident from his troops, also applies to Briska for assistance; as there are parties of the enemy constantly about, he dresses himself up in the absent miller's clothes; and in this disguise entertains a party of Charles's soldiers, who came in search of him, with brandy and a song. The real miller presently returns, and is much astonished to see a stranger wearing his clothes and dealing out his brandy. A most humorous scene ensues, in which Peter, with the assistance of Briska, entirely convinces the soldiers that he is the real owner of the mill. The soldiers depart, leaving a sentinel at the cottage door; and Jasper goes away to bring his neighbours to witness the imposition that has been planned upon him.

After this Charles appears, and finding the sentinel to be fainting with fatigue, he sends him into the cottage and takes his place. While thus situated some Cossacks enter, who are searching for Peter to assassinate him in the hopes of reward. Charles, expressing his abhorrence, discovers himself: they, not caring which side they take, resolve to kill him; when Peter, who in his disguise has overheard what passed, rushes to his rescue. Peter then reveals himself to Charles, and offers terms of peace, which the latter refuses. Charles shakes hands with him as an individual, and then throws down his gauntlet; at the same time allowing Peter one clear hour to return safely to his army, in order to fight the great battle of Pultawa. This ends the second act.

The third act opens with Peter haranguing his troops and leading them on to battle. The next scene is the mountains, where the miller enters with Aldo. Jasper is of opinion that the finest piece of generalship consists in a retreat, and has come there to hide himself during the battle. Charles enters wounded and discomforted, a complete victory having been gained by his adversary. Parties of Cossacks are abroad, who are in pursuit of his life; he is prevailed upon by the miller to conceal himself under the bushes where Aldo is hid, while Jasper sends the assassins in a wrong direction. Dorinski soon appears with the small remnant of his army, and Charles, exhausted by his wounds, is borne off by his faithful followers. The next scene is Paulina meeting with Alexis and Swartz after the battle. Word is brought that the traitor Dorinski is taken and ordered to be placed under the custody of Swartz, who is much agitated at the thought of his long cherished vengeance being about to be accomplished. A conference takes place between them. Dorinski endeavours to palliate his conduct, and proves that circumstances alone had prevented him doing justice to his daughter; and as to his treason, he had repeatedly petitioned the King through Koriac, which memorials, it seems, were never delivered. Dorinski earnestly entreats he may be permitted to have one short interview with his child, to which Swartz consents, on condition that he does not avow himself to be her father. At this juncture Paulina enters, calling Swartz father; Dorinski of course discovers her to be the female he has rescued. Swartz being summoned away to receive the warrant for Dorinski's execution, the father and daughter are left together. The outer door being unguarded, she entreats Dorinski to escape, which he at first refuses; but being told that could he gain one hour, she could obtain his pardon from the Czar (for Peter had given her a ring, with a promise that whatever she should ask on presenting that ring she should have), he consents. Paulina, learning from Jasper that she has endangered her supposed father's life by so doing, she is violently agitated. Swartz returns, is pleased that his prisoner has escaped, and is indifferent to the fate that may befall himself. Paulina is worked almost to a state of madness, and, spite of the resistance of Swartz, rushes to the castle bell and gives the alarm. Swartz then reveals the dreadful secret to the horrified girl, while at the same instant Dorinski is brought back. In the next scene the ring is presented to the Czar by Swartz, but he refuses to pardon Dorinski. The last scene is a large square. Dorinski, with Paulina clinging to his side, is led in for execution, Alexis, Swartz, &c. following. The fatal ceremony is about to take place, when the Czar comes forward, and not only pardons Dorinski, but unites the hands of Alexis and Paulina.

This piece is the joint effort of Messrs, Morton and Kenney, and possesses all the requisites, or rather essentials, of a melo-drama, as, with some well-chosen characters, it combines a variety of interesting and

C

amusing incidents, some highly effective situations, and scenes well wrought for stage effect; and the language, though it seldom soars above mediocrity, contains some elevated sentiments, well expressed and well adapted to the characters: yet, with all these advantages, the piece contains many faults and errors, which we could point out without judging it by any of the rigid rules of the drama; for the incidents are far too crowded, and there are so many prominent characters that the attention of the spectator is often completely bewildered. Observe the characters:—An emperor, benevolent, wise, and brave, who, by his single exertions, raised a country from a state little better than barbarous to be one of the most powerful in Europe, whose name will flourish green in the records of posterity, when "all statues, brass and marble, shall be dust:" again, a monarch, equally benevolent, whose ardent thirst for glory and heroism almost equalled any thing to be found in the pages of romance. Yet, with two such important characters, and so every way adapted for a drama, the authors have introduced a whole host of other characters alike prominent: a father breathing vengeance on the betrayer of his child; a son worked upon, through filial rage, to lead a conspiracy to overturn his benefactor; a repentant traitor and renegade; and, finally, a miller, who rates two monarchs in the same day, and who is here there and every where, and yet never tires.

Mr. Young personates Peter the Great with the fidelity of a true historian, entering fully into all the peculiarities of that great man's habits; still he had but few opportunities of distinguishing himself. The scene where he confronts the conspirators was played with a towering dignity of manner and determined energy. Mr. Young displayed a good deal of comic humour when he was disguised as the miller, and sung a bacchanalian song with great taste and musical science, which was most rapturously encored. Mr. Cooper did not altogether look the part of Charles; it was, however, a highly respectable performance. Mr. Farren played the rough-diamond Swartz with admirable point. By the way, Mr. Morton has been robbing himself, for Swartz, in many respects, is an exact counterpart of Moustache in Henri Quatre. There is a rugged sensibility in this character, blended with a depth of feeling, which were well harmonized and pourtrayed by this correct and indefatigable actor. But how shall we speak of Liston, in the bustling good-natured miller? how shall we describe the manner in which he makes his appeal to Charles for the ravages his soldiers have committed on his mill? and, above all, how can we describe his surprise and anxiety at seeing a stranger wearing his clothes and assuming his name? These points are not to be described—they must be seen to be properly estimated. Mr. Aitken played with a far greater degree of energy, and displayed far more feeling, than hitherto : he requires but study and attention to make a very tolerable second-rate actor. Mr. J. Vining was also highly