Drury Lane and the Haymarket both opened on Monday. The
at- traction of a grand ballet wiih Mademoiselle DUMILATRE as the heroine filled Drury Lane at first price, though the opera was the oft-repeated Bohemian Girl, now performed for the eighty -first time. The appearance of the crowded house on the drawing up of the curtain for "God save the Queen" was auspicious of a successful season ; and the sounds of dissatisfaction at the abridgment of the pit to make room for two rows of stalls gradually subsided. The cast of the opera was the same as last season ; and the performers, Miss RAINFORTH especially, were warmly applauded. The ballet of the Corsair is a very splendid spectacle, with picturesque groupings and tableaux; and employs the whole strength of a powerful corps, though not with answerable efficiency. The mere circumstance of its having been produced a few years back on the Italian stage would not militate against its attractiveness now, were the action more rapid and interesting ; but the incidents, familiar as they have become through the medium of BYRON'S poem, are scarcely in- telligible enough in pantomime, for want of significant expression of emotion. Nor are the dances remarkable for novelty or appro- priate character ; and being mostly introduced in set divertisse- ments, they seem too much separated from the business of the plot.
The " pas de seduction," in which DUMILATRE as Gulnare intercedes with the Pacha for the Corsair's life, is an exception to this remark ; and consequently the most effective pas in the whole ballet. When the danseuse, after executing a series of beautiful steps, reclines at the feet of the Padre, looking up into his face with a beseeching air, her appeal is irresistible. The tall, slight figure of Mademoiselle Dartinamts- her free and steady movements, airy, flowing, and fall of grace—and the neat and facile execution of all she attempts—combine to produce an impression of volatile ease and lightness that is most fascinating : her form seems to glide and float on the air ; and in the pas de deux with M. DESPLAGES, it appeared as if he were rather restraining than assisting her in making the extraordinary bounds she achieves. M. ALBERT personates Conrad, but as the Corsair's dancing-days are over, his Lieutenants MM. DESPLAGES and hloitTessu are the partners of Gulnare and Medora; the latter being represented by Miss CLARA WEBSTER. A medley of Spanish, Italian, and Swiss dances, and a new and pretty Polka, by M. DELFERIER and Mademoiselle DELBES, are the most effective portions of the divertissements,—which, like the rest of the ballet, will be greatly improved by unsparing curtailment in the two first acts. The third is full of variety and stirring action, and includes some of the most beautiful dances and tableaux : those of the Corsair's dream are highly effective.
The revival of Cinderella on Tuesday Was less fortunate, albeit the house was crowded and patient. The gayety and animal spirits which pervade this sparkling production of Rossna were suppressed ; a spell appeared to influence the performers and account for the general timi- dity and misgiving, which extended from the stage to the orchestra; and though desperate efforts to revive animation and confidence were now and then made, the glories of the pantomimic opera remained till near the end in eclipse. Of the vocalists a considerable portion were new, and not a little nervous ; their anxiety with regard to the musk influencing their deportment, and rendering it more solemn than might be desired in the opera buffs. The Baron Pampolino seemed to have no notion of the original Italian exaggeration of his part ; he did not even attempt to raise one laugh in self-defence, but was ridiculous enough to go through a most absurd character with the gravity of a churchwarden. Failure in a part of this consequence had a most leaden influence on the progress of the piece ; and it was not till BARLEY opened with the oddities of the little part of Pedro, which he did in his drollest manner, that some of the gay associations of the original were restored.
The part of Cinderella was undertaken by Miss DEWY ; who has reappeared here after some years of absence, and it is said of study. In figure and appearance she is well qualified for the part ; but this is all. Her music is nothing : the character of her voice seems to suffer from a vicious mode of delivery ; there is no equality or sweetness in her tone ; her attempts at bravura passages are not only feeble and indis- tinct, but are generally too slow for the accompanyists. A sudden manner of throwing out her high notes alone reminds us that there is an attempt at the prima donna: but this artifice only reveals more com- pletely a great general defect of power, and a very limited and imper- fect command of the mechanical requisites of her profession. Mr.
KING, who enacted the Prince, possesses a tenor voice that might be turned to some account under good instruction. At present he is not only often false in taking intervals, but his style tends to great vulgarity —particularly in his cadenzas. The bass voice of Mr. S. JONES— Baron Pumpolino—proved just inoffensive enough to escape criticism.
We have been so accustomed to brilliant representations of La Cenerentola, as to be quite unaware of the state of dulness to which it
may be reduced in the hands of second or third-rate performers. But the result of the experiment once ascertained, should suffice to guard against its repetition.
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