At the old-established London theatres, " French classical tragedy "
would be looked upon as a periphrastic euphuism for a bore. The pro- ductions of the modern Parisian taste are sought with avidity, but there is an instinctive shrinking from the old Racine, who flourished in the days of Louis Quatorze, and from any new Racine, who in modern times may stand in antagonism to Dumas and Hugo. From this sort of prejudice a primitive race like the frequenters of the Marylebone Theatre is totally free; and a version of the Virginia of M. Latour, (de St. Ybars,) by Mr. John Oxenford, has been produced with decided success. The simplicity of the " classical " plot renders it easily intelligible, and perhaps even the declamatory style of the dialogue is not unpalatable to a class who like to applaud "sentiments" The playgoers of the old theatres were gradually wearied out by a repetition of toga-clad conventionalities; but the au- diences of suburban " legitimate " theatres are as yet untried, and their pe- culiarities are only to be learned by new experiments. Mrs. Mowatt, who plays Virginia at the Marylebone Theatre, does not, of course, display the searching discrimination of Mademoiselle Rachel; but she evinces feeling and intelligence; and Virginias is acted with due force by Mr. Davenport. The scene of the Forum, with the concluding riot therein, shows a talent for mise en scene, not excelled at houses of far higher pretension.
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