Mr. Icder's opera on the subject of Giselle has been
followed almost im- 'mediately by a burlesque on the same production at the Adelphi. As a spectacle it is one of the most brilliant ever produced at that theatre; some new scenic effects being added to those which have always belonged to the subject in its form of ballet or opera. As a burlesque it is very poor, being destitute of wit, and over-stocked with that sort of slang to which we objected in noticing the Judgment of Paris. It is not because a speech is written in the language of a cab-driver that it is necessarily hu- morous.
The performance of Wright in a farce called Mrs. Gamp's Tea and Turn- out shows what an actor he might be, if freed from the necessity of fur- nishing senseless buffooneries to fill up the " carpenter's scenes " of melo- dramas. The pomp, the self-complacency, the strong disposition to resent an indignity, with which he endowed the old nurse, could only have arisen from a profound study of the part. Even in the illegitimate expedient of addressing the audience in the course of the piece, he so completely pre- served the character, that one forgave the trick. for the "naturalness" with which it was executZal.. Munyard, who playedthe other.nurse, Mersey Prig' —a lady less dignified- and more unsophisticated—is a rising comedian, capable of assuming varieties of character and marking out peculiarities. with strong effect. What he wants at present is perfect ease: one sees. he is working.
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