Turning from a piece which has scarcely any incident at
all, we come to another novelty of the week, Sarah Blangi, which is likewise in five acts, and which literally overflows with events. Sarah Blangi, whose place of action is the Olympic Theatre, is a vindictive young lady, by birth a Creole, who if not stopped in her career would have filled up a volume of the Newgate Calendar by her own unaided exertions. She keeps a poisoning doctor on her own account, just as Italian prime donne have their family physician ; she throws misery into domestic circles, and this with such a gusto—with such a perfect luxuriating in wickedness—that it is impossible to be angry with her. The actress who is intrusted with the exhibition of her amiable peculiarities is Miss Fanny Wallack, a debutante ; who combines several of her family peculiarities with much of the Cushman style, and who though not a refined artist has force enough to give full effect to a delineation of strong passions. Miss Gordon, a young and rising actress of the establishment, advances a step further by the delicacy and good taste with which she represents the amiable victim of the terrible Creole ; and Mr. Compton's impersonation of a mysterious philosopher, who frustrates all Sarah's schemes, is one of those finished dramatic pictures which are by no means common. Not quite serious or quite comic, but always civil and always shrewd, this character, as represented by the actor, has an individuality about it which would fairly give it a place in any theatrical portrait-gallery. Sarah la Creole,. the French " dmme " from which the piece is taken, is a very good specimen of the present Ambigu-Comique school ; and Mr. Morris Barnett's version, which is very cleverly made, is likely to do good service to the Olympic Theatre, which had for some time past been rather in the shade. There is no longer a Vestris' company to render Wych Street the site of fashionable trifles and picturesque vaudevilles ; and to make the Olympic succeed in the present day, the more judicious policy is to approximate 'as much as possible to the better theatres about the Boulevard St. Martin. Sarah Blangi, startling enough to interest the mixed multitude, and ingenious enough to satisfy the connoisseur, is a move in the right direction.
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