Since the above was in type, we were tempted to
Othello last night, by the announcement, not only of MACREADY, whom we had seen some months ago, but of ELTON in Iayo, and Miss ALI.ISON in Desdemona. The principal characters were admirably represented. We never saw MACREADY to such advantage. He looked the noble Moor, and towered like a giant above his fellows: every inflection of his voice, every variation of his countenance, was perceptible to the most distant portion of the audience, without effort on his part. EsroN's l'av is capital : he plays the part in the spirit of comedy, and the effect is to give life and reality to it, and to elevate and ennoble the character and woes of Othello by the contrast. ELTON is the gay, honest-seeming villain, of SHAKSPEARE ; though more of force and intensity in the soliloquies is necessary to the disclosure of his diabolical purpose. His apparent frankness and plausibility flow from his utter indifference and the absence of all sympathy in his nature; and his gayety is Luta cold, heartless levity. An unerring test of the truth of his personation is, that he makes us feel that Othello might have been so duped. Miss ALLISON makes a pretty, innocent, girlish Desdemona; arid agreeably surprised us by her naturalness. But she should correct that trick of lowering her voice at the end of sentences, whiell makes her occasion- ally inaudible. Of Miss Hummer's charming Emilia we have before spoken : it is the warm-hearted but not over-sensible woman of the play. Altogether, there was a reality of effect in lust night's perform- ance of Othcilo, that we have not often found on u greater stage : it was Tragedy unstilted.
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