THE THEATRES.

COVENT GARDEN

OPENS on Monday, under the management of Mr. OSBALDISTON, who formerly held the Surry Theatre. The principal feature of his plan is the reduction of the prices to those of most of the Minor Theatres,— namely, boxes, 4s. ; pit, 2s. ; gallery, Is. ; upper gallery, 6d. ; with half- price admission to the boxes and pit only. The playgoing portion of the public have been speculating upon the probable effects of this measure. Its expediency cannot be doubted. The prices of theatrical amusements at the larger houses are too high to suit the circumstances of the times. When every thing else has fallen, they have continued at prices that it cost KEMBLE an 0. P. warfare to maintain thirty years ago. While the entertainments at the Minors have been improving in character, those at the Majors have deteriorated rather than otherwise. To give the Great Theatres a fair chance of success against the Minors, lower prices are necessary. But the success of the reduction will depend upon the quality of the entertainments. It will not do to convert Covent Garden into an overgrown minor theatre ; nor will inferior performances of the classic drama be tolerated. The difference be- tween four and seven shillings, or two shillings and three and sixpence, will not induce people to prefer a play indifferently performed to one well acted. Mr. OSBALDISTON, however, does not appear to rely wholly upon the economical part of his scheme. In engaging KEMBLE and POWER, and offering terms to KEN and DOWTON, be has shown a desire to avail himself of the best talent in the market. Unfortunately for him, however, there is but little of the higher order procurable just now ; though the Drury Lane company is far from being so complete in its several departments as it might and ought to be—especially if we judge of it from BONN'S puffs. The whole catalogue of actors familiar to London audiences will not furnish forth any thing like two complete and efficient companies for tragedy and comedy. It contains scarcely more than enough for one, and that incomplete in some important items. For instance, we have not a lover, a fashionable fop, or a fine gentleman for light comedy—KematE excepted, and he is no chicken : indeed "a walking gentleman" is a rare avis. The public, however, have been so long accustomed to mediocre and unsatisfactory perform- ances of the classic drama, that they are fain to be content with what they can get ; and begin to entertain the opinion that there is no better to be had, —a notion which managers are not anxious to contradict. For ourselves, we had rather a fine tragedy or a brilliant comedy were not represented at all, than indifferently or imperfectly. It would be a sufficient reason for not acting Macbeth that there was no actress coins petent to the personation of Lady Macbeth. The niche in the temple should remain vacant rather than be filled unworthily. But we cannot expect managers to think so. It is one thing to brag about a "national theatre" and "upholding the legitimate drama," and another to do jus- tice to good plays, honour to their authors, and credit to the stage, by effective representations. When BONN entered upon his Siamese state of management, he had a rare opportunity of carrying into effect the views he professed to entertain of forming one complete and efficient company for each department of the drama out of the materials of the two. But he had no such aim ; as he proved by Making one large and ill-assorted company serve for two theatres, instead of devoting one of them to tragedy and comedy, and the other to spectacle, opera, and ballet. His only object was to destroy opposition by creating a monopoly ; and this has been the tactics of managers of the Patent Theatres time out of mind. They have looked for success from the failure of their rival,—engaging actors that they did not want, to prevent an- other, who did want, from having them ; putting up stock plays merely because they were announced at the other house often, on the same night ; in short, running a race, not of competition, but of mere opposition, and ending, of course, in ruining each other. This system benefited neither the public nor the drama. Neither did the actors gain by it, except some one individual of distinguished talent, who might turn to his own advantage the folly of the managers, because he happened to be, as FARREN said of himself, "the only cock-salmon in the market." Under this precious regime, the "starring system" has flourished; which has been the great cause of the deterioration of stage performances, by making one or two principal actors all-im- portant, and the rest of no account ; and converting the drama into a mere vehicle for exhibiting this new actor or that young actress in a principal character. This will not do, as experience has shown, how- ever managers and " stars " may try it. And in this view, we think it fortunate that there is no actor or actress at present on the stage the splendour of whose genius can blind us to the imperfections of the rest of the company. We are sick of hearing the poetry of SHAKSPEARE delivered in such a way that one "would as lief the town-crier spoke the lines." And how often, too, is the effect of the best acting marred

by some iecompetent representative of a subordinate character. The effect of a play, as a whole, must necessarily depend upon the due de- velopRient and proper keeping of the respective parts. The greater the powers of the principal actor and actress, the higher should be the average talent of the rest. It is in these particulars that performances most commonly fail; and it is precisely these that may be most easily made perfect. For a great genius, we must bide nature's time ; but there are plenty of little geniuses, if they were only put in their proper places. Among actors by profession as well as amateurs, ." All will lie Ilamlets.antl none are Lae,teses."

But it is the manager's business to curb the vanity of these ambitious aspirants, and place them in situations for which their peculiar talent fits them ; and when they find themselves filling these secondary sta- tions with credit and profit, they will be satisfied with moving in a

humbler sphere. A bad Hamlet and an indifferent Laertes might make an excellent Horatio and Marcellus ; but any " stick of an actor" is thrust into these parts, and the high-minded Prince of Denmark is

made the assoriate of any thing but gentletnen,—and this on the boards of the " National Theatre " too ! The incompetency of an actor to fill a principal character may and often does arise from physical

iiimtbility : it is no reproach to him ; his mental capacity perchance

may be superior to that of him who fills the tragic throne. Sims. set:Aite, it is told, failed as an actor in such a part as the Ghost, which is not accounted a very difficult or important one. An efficient come

puny of actors, for all the subordinate parts of the classic drama, might be formed out of the ci-devant Romeos, Hamlets, and Othellos, who have

fretted and strutted their hour, and been heard no more of. Many of those whom we now only tolerate in secondary characters at Drury Lane, figured as " bright partivular stars " on those very boards seasons

ago. There is DENVIL, who was raised to the name—the dignity he could not attain to—of first tragedian at Drury, now an erratic star in search of an orbit ; the Pavilion in Whitechapel being his last locality. This is riot the fault of the individual, but the system.

Now, to apply the moral of this sermon for the edification of Mr. OSBALDISTON. It must be clear to him that the "starring system" will not succeed under the circumstances in which he is placed. KEMBLE is a clever and experienced actor, unrivalled in several cha- racters, and competent to many more. He is a fiivourite too, and deservedly ; and his absence from the stage has given an impetus to his popularity. But people will not be planet-struck with such a

" star : " he must have efficient supporters, and the plays in which he appears must be in other respects well acted, or his attraction will soon fail. He is announced for Halide!, with Miss TAYLOR'S Ophelia,

—good performances both, but requiring other aids in the general cast of the piece, of corresponding efficiency. As yet the bills are silent with respect to the other characters—which is ominous. But we must not be hard upon the new management. Only this we must say, that the attraction of stock pieces will depend upon the completeness of their representation in all the minor parts : the performance must be perfect as a whole. And if this condition cannot be fulfilled, the manager must look to the attraction of novelty, and leave the old plays alone. Indeed, we think that this is his best, if not his only course. If his aim be really to support the "legitimate drama," what more direct

way is there than to produce new plays by such dramatists as SHERI-

DAN KNOWLES, SERLE, and JERROLD ; and lighter entertainments by KENNY, CHARLES DANCE—ay, or FITZBALL, if he will condescend to be less murderous and mysterious? Were there a fairer field for the talent of dramatic authors—they have now their reward if successful —stage performances would possess a greater interest for the public, and would acquire a more intellectual character. Wit and poetry can alone compete with the meretricious attractions of spectacle.

DRURY LANE.

Another of the discarded manuscripts that POCOCK the dramatist left behind him—for the damned farce of the Night Patrol was one—a melodramatic version of SCOTT'S Old Mortality, was produced here on

Tuesday; and though, judging from the accounts, its success was neither so brilliant nor unqualified as the bills pretend, the effective manner in which it has been got up promises a short run. From the

preliminary announcements, we had been led to expect a rifacimento of l Puritani ; instead of which, Miss FANNY HEALEY proclaims her

inefficiency, by attempting the polacca which Gaist sung so exquisitely; and Messrs. SEGUIN and GIUBTLEI, dressed as two troopers, are thrust forward to sing the popular duet " Suono la tromba," that LABLACHE

and TAMBURINI gave with such effect. No better plan could have been devised, certainly, to prove the inefficiency of the Drury Lane voealists. The title of the piece, Cavaliers and Roundheads, is just as appropriate as "The Covenanters" would be to BELLINI'S opera. The striking situations, affecting incidents, and boldly-drawn characters of the novel, can hardly fail of being effective on the stage ; and there was the less necessity to sacrifice the original story to scenic effect so entirely as in the present instance. VANDENHOFF, who is engaged at this theatre, is said to have played Balfour ef Burley exceedingly well: WARM'S Bothwell, and COOPER'S Morton, are also favourably spoken of. The character of Cuddy Headrigg seems to be utterly lost in HARLEY'S buffoonery. Mrs. C.. JONES personates the Lady of Tillietudlent characteristically enough, we dare say.

The spectacle is described as being very effective. A representation of the Battle of Bothwell Brigg is among the leading incidents ; and as it does not appear to have been a ludicrous failure, it must bare been well managed, notwithstanding the soldiers were badly drilled. Some Scotch airs were introduced, but as inappropriately as those from BELLINI. Altogether, it looks like a mere piece of patchwork, that met with more success than it merited. [P S.—It has already found its proper place, as an afterpiece, notwithstanding its rrlipwens! success ; " "in order," as BONN says, "that there may be no impedi- ment to the continuous representation of the standard works of the British stage."—Fudge!] OLYMPIC.

We missed seeing at the Olympic, last week, a new burletta called The Two Queens; which, notwithstanding the improbability of the in-

cidents, is very amusing, being written in a pleasant spirit, and very nicely represented. The story is this: Mary of Denmark, hearing that Christine of Sweden is travelling through Denmark disguised as a man, under the title of Count Dohna, for the purpose of planning a fresh encroachment on the Denish provinces, resolves to foil her adver- sary at her own weapons ; so, disguising herself as a peasant, she gets a place as her-maid at an inn where the supposed Count is to rest on his journey, and not only puts a Mop to further aggressions on the part of Sweden, but also procures a renunciation of the provinces

already seized. How she effects this, the reader should go and see ; and he will be charmed by the ease and address of VESTRIS'S acting as Mary, and the point with which she delivers the dialogue, and the peremptory spirit and brusquerie of Mrs. H OOPER'S personation of the masculine Christine. Mrs. HOOPER looks the cavalier very well • and when she resumes her female attire, she is quiet and ladylike. She does not overact in the least, though the character is one that tempts to this fault. This lady is a peat acquisition to the company. Lis-rox, as Magnus Lab, a dunderheialed governor, is dressed in a manner so preposterously absurd, that it requires all his seeming Un- consciousness to preserve the excessive caricature from defeating its object : us it is, he makes it most laughable ; he looks all body and no legs, like a tall human humming-top. BLAND plays the character of Koller, a veteran sailor, with a great deal of nature and genuine feeling. The scene—for there is but one—of an interior of a Danish inn, with a view of the fleet from the window, is capitally painted by HiLLIAaD ; who is one of the cleverest of the followers of STANFIELD. There is some very nice music, too, introduced.

THE VICTORIA.

Mr. GEORGE JONES, an American tragedian, made his first appear- ance before an English audience at this theatre on Thursday, in that most ill-used character, Hamlet, which "every puny whipster " lays rash awl violent bands on. Mr. JONES'S figure is rather slight than other- wise ; of the middle size, and well-proportioned. His features are sharp, his face is thin, and his look expressive. As we saw little more of the tragedy than the last act, we do not feel justified in pronouncing es cathedra upon the merits of Mr. JONES'S personation ; judging from what we did see of it, however, it wanted depth, dignity, and refine- ment. Mr. JONES portrays a violent, rash, and et ceatrir man, not the over-sensitive, meditative, and wayward prince. His manner is some- what coarsely familiar and brusque, and his tone was at times absolutely bullying. His action is free, but often inelegant, and sometimes even slovenly. In a word, his performance, though clever, bold, and ener- getic, is deficient not only in evenness and repose, but in variety and deli- cacy. Mr. JONES, however, seems to possess considerable talent as an actor; and he is certainly an expert fencer. We wish, for his own sake, be had chosen a less lofty and arduous character in which to make his debtit in this country. Not that he has any reason to complain of his reception, for it was cordial and enthusiastic. Ile was called for at the end of the performance; and expressed his sense of the kindness of the audience in a very neat and pithy speech. Alluding to the cir- cumstance of his being the first American citizen who bad appeared on the English stage in tragedy, he very felicitously applied to the oc- casion the sentiments expressed by SHERIDAN KNowLes on his recep- tion in America. Mr. JONES is to repeat the character on Monday. Mrs. SELBY played the Queen with propriety and feeling. "A young lady" made a very respectable first appearance as Ophelia : the mad scene was very nicely and quietly acted. The Osric, too, seemed a promising young actor.

THE LYCEUM

Reopens on Monday, for a supplementary season of three months, which the King has granted to the company in consideration of their losses. Men in business, when they are unsuccessful, are fain to shut up shop; but the players seek to repair their losses by keeping open longer. They court Fortune like gamesters, and seem to calculate on better lack as a necessary result of a long series of ill-fortune. Were they to trust less to the chances and more to good management, their success would be greater. What with preliminary seasons and supple- mental seasons—like the sittings before and after term of the Law Courts—the Theatres will soon be open all the year round. Not that we see any objection to that, if the public require it, and it answers the manager's purpose.

The novelty provided for the reopening is a musical melodrama, called The Muleteer's Vow ; of which SERLE is to be the hero. Only part of the company remain,— including PERKINS, Rome% and Ox- BERRY, Miss P. HORTON, and Miss NOVELL°, and WRENcit too, though he plays at the Queen's also. RUM BA LL takes the place of 0. SMITH; APIAN being engaged at Covent Garden • and Mr. RHODES, the box-keeper, who has before appeared on the boards, is the principal vocalist. The prices of admission have been judiciously lowered to those of the Adelphi and other Minors. There will be no fewer than five principal theatres open during the next three months each within a stone's throw of the other, besides as many Minors in the suburbs. For all of them to fill,, the entertain- ments must be good indeed. The competition will be sharp. Mana- gers must look to it : those who most deserve success, will meet with the best.

THE QUEEN'S.

WRENCH is now added to the company; and the amusing farce of Simpson and Co., with an effective cast, to the entertainments here. Zarah is now acted at half-price. The success of this little theatre con- tinues uninterrupted.

THE SURRY.

We were attracted to this theatre the other night, to see T. P. COOKE as Robert Macaire, in an English version of L'Auberge des Ardrets. His performance is a faithful and spirited copy of LEMA I- E ; free from coarseness or buffoonery, but wanting the finish,

elegance, and superb style of the Frenchman, as well as his native elasticity of animal spirits. In short, it is an excellent English trans-

lation of the original. W. SMITH was the Bertrand, and acts the squalid, sneaking, cowardly rascal, very well; though he is by no means equal IO VIZINTINI.

The house was full, and the audience were respectable and orderly. This is a proof that low prices do not necessarily deteriorate the quality or lessen the decorum of the audience, as is pretended.

THE ADEtA'HI. Anew burletta of interest is announced for Monday. ViNiNG, from the Haymarket, is also engaged, as well as WEBSTER. THE COLOSSEUM.

The amusements at the Colosseum are entirely changed—we wish we could add for the better ; but the truth must be told, that at present they are dull, and, for the most part,. childish. The most pleasing portion of them consists of Ducaow's famous personations of the antique statues and tableaux vivans, which, though not new, are beautiful, and suited to the place. Their effect is greatly injured, however, by the introduction of some poor actor in the character of Itvliael, who does the office of a cicerone, and fills up the time between each tableau very tiresomely, by spouting and pretending to paint. The inhuit actors and the ponies are better at Astley's ; here they are out of place. An attempt has also been made to provide the visiters with the opportunity of amusing themselves, by means of a chariot in the shape of a peacock, and a hobby-horse, covered with housings to bide his want of legs ; which are severally propelled by machinery, in a groove running round through the centre of the saloon of sculpture. Any lady that chooses to try her skill may ascend the car, and, as it travels along, dart an arrow through the centre of a little knot of flowers ; when, if successful, she is rewarded by a free admission to the Colosseum for the week. Gentlemen are invited to bestride the hobby-horse, who is bedecked with a plume of feathers on his head and a carved and gilt bracket for a ; and those who choose to mount, aim with a sort of javelin at a target, or tilt at a quintain, for a similar prize.