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As we never ceased to point out the negligent style of production which marked the commencement of Mr. Anderson's management, we are especially bound to notice the great change for the better which has taken place this week in his Othello. There is no longer the impression that the first play which came to hand has been snatched from the shelf and fitted up with the first dresses that presented themselves. Othello is not only well mounted, but exhibits a desire to quit old conventions. The armour, for instance, with which the principal characters are clad in the second act, is completely a novelty. Our readers may imagine that we are making too much of a mere accessory, and certainly the introduc- tion or the omission of this same armour is a matter of no great moment ; but we hail the steel plates not for their own value, but as a sign that the manager is no longer satisfied with taking things just as they have been done, and is investigating the possibility of giving new aspects to subjects already familiar. In a word, we like to see that thought has been at work. It was by bold departures from tradition that Mr. Maeready • ed so high a reputation for his revivals at both the large houses ; and his example must be followed by Mr. Anderson if he would really take the town. A reverence for the text of Sluikspere, which marks his re- vival of Othello, is another good sign. The Clown and the courtesan Bianca, who is necessary to complete the story of the handkerchief, are restored, from the original version of the tragedy. Mr. Anderson's performance of Othello is not first-rate, but it is not ineffective. His personal qualifications are admirably fitted for the part ; his manly deportment at once brings the dignity of the Moor before the spectators, and his sonorous voice fills the large theatre. But he has ac- quired a habit of monotony and slowness of delivery, which we do not re- member to have observed before his departure for America ; and although this does not affect the stronger passages, it is greatly in the way of those minute subtilties for which the character affords so much opportunity. Mr. Vandenhoffis Iago is the best-played part in the piece. The cunning is softened down, and overlaid with a sort of cynical honesty, which might naturally impose on the unwary. Miss Laura Addison, as Desdemona, made a great ' hit " by the famous appeal to Heaven in the fourth act. Miss Vandenhoff was a weak Emilia.
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