The shutting up of the Operahouses seems to have been
the signal for activity in the outskirts. A few years ago it would have been difficult to make any one believe that the movements of Her Majesty's Theatre could affect those of Sadler's Wells; but of late the rage for the musical drama has been so much in the ascendant, that the influence of the great musical houses may possibly be felt in regions that hitherto could not have dreamed of such an invasion.
Sadler's Wells opened on Monday; and Cymbeline was produced with the usual company,—that is to say, the principal parts were sustained by Miss Laura Addison, and Messrs. Phelps, Marston, G. Bennett, and Scharf. The acting is simply respectable; but the getting up and the management of the ensemble, considering the resources of the theatre, are admirable. This is the strong point of Sadler's Wells. Though many of the individual parts would not stand the test of criticism, a reverential feeling for the works of the great national dramatist, and an artistical spirit in giving the general effects, are clearly visible in whatever is produced. The audience is deci- dedly the most comfortable in and about London ; for, like an Astley's audi- ence, they come on purpose to be pleased; but, unlike an Astley's audience, they are only satisfied with the higher order of drama. Cymbeline is what is called, in theatrical parlance, a" heavy-acting " piece; but the enthusiasm at the fall of the curtain, and the copious diffusion of " Knight's Cabinet Shakspere" among the auditors, who conned every word with attention, showed that it was not heavy to them: if we would seek a parallel, we should look among a class widely different. In spirit they are more like the audience assembled at Westminster School to witness a play of Terence than any other audience in London.
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