THE THEATRES.
THERE being little of novelty in the theatrical quarter, we made a pilgrimage to far.off Sadler's Wells ; which, until the present season, we had not visited since the time when " real water" was the main at- traction. Well do we remember the last grand scene of a "naval en- gagement," when two ships floated in most amicably, like a brace of barges into the same lock, and actual men splashed about in the New River as in a bath, with only the difference of clothes, amidst broad- sides of pistols and the clangour of the orchestra. Waterproof dresses were not then invented ; and the actors being too ardent to take any thing but the ducking coolly, the heat of the engagement thus sud- denly quenched by the chill of the water gave them cold ; hoarse re- monstrances were addressed to the manager, and be was deprived of the " New River Company." It was suggested as a remedy, to turn the fresh water into brine; ; but the New River Head signified a nega- tive, and the irresistible announcement of " real salt water" was fore- gone : the water was turned off without ceremony, and a " fireman " has ever since superseded the " turticock "at Sadler's Wells.
In other respects, the performances seemed strangely altered. We missed the strenuous bawlers, and energetic attitudinizers, and stampers, the pig-tailed tars dancing hornpipes, and gallant captains fighting six Frenchmen single.handed, and taking them all prisoners : the audience, too, has changed, and no longer takes an active part in the business of the evening. In short, Sadler's Wells is as orderly and well-managed a theatre as any within the precincts of Covent Garden.
We were first attracted by the announcement of nimbi's scenery of the Alhambra, in the version of BULWER'S Leila or the Siege of Gre- nada, played there a short time ago. Nor were we disappointed : the "getting-up" of the piece was characteristically picturesque, and the acting above mediocrity. Airs. HONNER, who played Leila, created an interest for the heroine, by her gentleness and earnest manner, that made every look and tone speak to the heart. Curiosity to see her Oliver Twist led us thither on this occasion ; and it more than rea- lized our expectations : it is fully equal to Mrs. KEELEY'S Sinihe, and, inasmuch as Mrs. HONNER'S style of acting has less appearance of art, is more truthful. She is in every look and movement the art- less, ingenuous boy, all meekness and alacrity when kindly used, but showing a spirit of resistance to oppression and insult : not the slightest trace of the actress is seen through the assumed character. Her cry. ing at leaving the farm-house is not a stage demonstration of weeping, but the hearty sobbing of a schoolboy wiping away the tears with his jacket ; which would be ludicrous, hut for the sympathy excited. This is only one of many similar points of vraisemblance. Oliver's unsuspecting simplicity at meeting with the Dodger—his strangeness and concealed aversion from his new associates at the Jew's—his alarm and confusion at the robbery—and his sinking with terror and appre- hension when before the Magistrate—are depicted with the nicest and most touching reality : not less actual are his thrashing Noah Claypole, and his struggles with Sikes and Nancy when retaken. In a word, it is a perfect personation—a more genuine and delicate piece of acting of its kind we have never witnessed : the utter absence of all the trickery and mannerism of the stage is a most remarkable feature of the performance. Mrs. HONNER, indeed, is a very pearl of her pro- fession. Her husband plays Fagin, the Jew, in a finished and highly effective manner ; especially the closing scenes, to which he gives a thrilling, but, necessarily, a painful interest; his dressing is as artist. like as 0. SMITH'S. J. LEE, from the Strand Theatre, looks and acts the brutal burglar Sykes with ghastly fidelity; and W. J. COLLIER as The Artful Dodger, is an amusing fac.simile of the low pickpocket. Miss RICHARDSON does not dare to portray the revolting features of the girl Nancy : but she evinces talent and sensibility, though restrained by formality. Mr. CONQUEST throws too much buffoonery into Mr. Bumble, thus derogating from the magnificence of that " porochial " functionary. Our hearty old acquaintance WILLIAMS, of the English Opera-house, is an excellent representative of the benevolent and ec- centric Mr. Brownlow. In short, all the principal characters are well personated. There is not much scope for the scene-painter, but the scenery is good: the view of London Bridge has the effect of illusion. Most of CRUIKSHANK'S designs are embodied in the stage tableaux.
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