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The revival of Rob Roy at Covent Garden has created some interest, from the novelty of a professor of legerdemain appearing in a part which eminent tragedians have not despised. In the representation itself there is nothing very exciting. The " Wizard," at any rate, gives a notion of physical strength ; and, as he does not attempt too much, he does not make himself ridiculous. His company, which has been got up some- what suddenly, and comprises many names utterly new to the public, is
t what one would hope to find in a respectable provincial theatre. Decidedly the best portion in the whole performance, is the arrangement of the masses representing the clansmen of Rob Roy ; • for we seldom see so much animation diffused through so large a multitude. The bills tell us that the piece is now revived according to the Glas- gow version. Excepting that Rob Roy, when disguised as plain Mr. Campbell, makes his first appearance on horseback instead of on foot, and that the Baffle's scuffle with the soldiers is endowed with all the length and all the breadth of a poker-scene in a harlequinade, we do not see that there is any material change from the musical drama that. has been played in London for the last thirty years,—unless, indeed, we may be allowed to assume that Mr. Samuel Cowell has picked up some Glasgow tradition, according to which Major Galbraith was a costar- monger. On no other hypothesis can we account for that facetious vo- calist singing the ballad "A famous man was Robin Hood" precisely in the style of "The Rateatcher's Daughter."
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