25 FEBRUARY 1837, Page 12

The Sentinel is a pretty little vaudeville that makes an

agreeable interlude to those two permanent attractions of the Olympic, the Figaros and Riquet with the TO. It is a new version of the old incident of a sentinel leaving his post at the call of love, and being detected in his breach of duty by the king, who mounts guard in his stead, and pardons the delinquent in consideration of some service formerly rendered to the monarch. The soldier in this case is one of the guards of the great Frederick, and moreover a coward,— though, being so, he was not very likely to incur the imminent hazard of being shot,--but we must not scrutinize too closely the probabilities in so slight a production. The piece is neatly constructed and smartly written, and the equivoques of situation and dialogue are ingenious and amusing. The author is a son of the veteran dramatist MORTON; we hope he will prove as successful as his father in devising some new Cure for the Heart-ache. The character of The Sentinel does not suit the peculiar humour of CHARLES AIATHEWS, who is rather a mimic than an actor; but VESTRIS as his sweetheart, the cause of all the misadventures, gives point and sprightliness to the pleasantry. VINING plays Frederick very creditably ; but the arbitrary and explosive monarch would have been more characteristically personated by F. MATTIIEWS, who takes the character of a crawling courtier. The piece is admirably well got up, as usual. The scene of the court-yurd of the old palace, with the guard on duty, presenting arms .to the king, has the effect of illusion. The uniform of the grenadiers is doubtless correct : it is ugly and ridiculous enough. The effect of night is capitally imitated by means of dark green glasses to the stage-lamps. These minute attentions to seemingly trivial matters, combine to give a completeness of ensemble, that makes many a piece successful that might otherwise fail. Hail to VESTRIS, the Reformer of the Stage !