Merrie England," to be performed in the Botanic
Gardens tomorrow week, is .charming music — an
ideal choice for Sunday afternoon entertainment in a
garden setting. It wili have equal appeal to highbrow
and lowbrow tastes.
Sir Walter Raleigh and Jill-
All- Aione will be chronologically
incorrect when they sing "It Is
the Merry Month of May." '
But in his next solo, the gallant
Sir Walter will be "right on the
beam." This gay little song is
"Dan Cupid Hath a Garden."
"Merrie England," a comic opera,
was written by the distinguished
English composer Sir Edward Ger
man. It was first produced at the
Savoy Theatre, London, in 1902.
Mr Hector Crawford, who will
conduct the Melbourne Conserva-
torium Symphony Orchestra and
the Orpheon Choir of 200 voices,
is not worried about the weather.
His friends call him "Lucky Craw
ford" because in seven years of
open air concerts he has suffered
only one day of scattered showers.
Soloists, choir and orchestra will
have their first combined rehearsal
on Tuesday night. On Saturday
they will rehearse In the gardens.
The concert is being sponsored
by The Herald. It will be broad
cast by 3DB.

Some of the loudest ap-
plause at yesterday's matinee
performance of "Oklahoma,"
at the Theatre Royal, carne
from 20 blind women from
the Helen Keller Hostel,
Woollahra.
The blind women "saw" the
performance with the aid of
Matron E. R. Smith, and four
members of the hostel staff, who
described the scenes, costume,
and actions.
They were the guests of the
management of J. C. Williamson
Ltd.
After the performance they
unanimously agreed that it was
one of the most pleasant outings
they had ever had.
The eldest member of the
party, Miss H. Runcie, 81, and
the youngest Miss Sylvia Barnett
23, were particularly enthusiastic
Miss Runcie, a retired school teacher, said: 'I was always very
interested in music and the stage
You see, when I was a teacher I
had to know a bit about singing
Although I am rather deaf I
enjoyed the programme immensely.'
Miss Barnett, who is an elocution teacher at St Lucy's School
for the Blind, said:
'I am very interested in stage
work, and thought it was grand
Because of my work in voice production, I was able to follow
the plot clearluy"
Arrangements for the women's
visit were made by Mr T. C.
Faribairn, organising secretary of
the Royal Sydney Industrial Blind
Institution.

A well developed entertainment
from an amusing situation
is worked out in "Dear Ruth,"
now playing at the Comedy.
Letters written enthusiastically
by a "kid-sister" in her elder
sister's name to a soldier overseas
as part of the bobby-soxer's
many enterprises to help the war
effort have their perplexing results
when -the possessive soldier
returns looking ardently for
his "Dear Ruth," who has just
announced her engagement to
Albert, a sedate young man who
is not able to keep pace with
the rapid turn of events.
There is plenty of humour to
keep the brew merrily simmering
and the characters are well
played by a thoroughly efficient
cast. Claude Fleming is well
suited with the role of the father
of the girls, Judge Wilkins, and
Gladis Griswold and Anne Lincoln
give polished presentations
of the mother, Mrs. Wilkins, and
the daughter, Ruth, respectively.
Gwenda Wilson is well cast as
the younger sister, Miriam, the
imp of mischief behind all the
trouble. The supporting parts
are strbngly filled, though John
Stacy's interpretation of Albert
strikes a farcical note that is
discordant in the key in which
the comedy is played. It is
amusing, nevertheless. The
play is, as usual, expertly produced
by Gerald Kirby, and the
stage set by George Upward and
assistants is a work of art.

We have to record the total destruction of the Haymarket Theatre in Bourke Street by fire. This place of amusement has now been closed for several years, with the exception of a few nights at intervals, when it has been opened for occasional entrainments. At the time of the fire it was under lease to Mr Coppin, also the lessee of the Theatre Royal. Although so rarely open to the public, it was in complete order as a theatre. Its stage was supplied with scenery and fittings; the pit, dress circle, and a gallery were in their usual condition, and the premises were carefully looked after. Those to whom the building is familiar will remember that the establishment consisted of two portions. That fronting Bourke street consisted on the eastern side of Allen’s Haymarket Hotel, and on the Western side (separated from the other by the pit entrance, some 14 ft wide) where ticket offices, &c. The first floor was occupied by the main portion of the Apollo-hall. Behind these front buildings was a courtyard, with a fountain in the centre; but the premises were carried along on each side till they reached the theatre at the back. On the right of this yard were lattice work arbours, fitted with benches and tables, and above was a long covered passage leading to the dress-circle. On the opposite side was a bar, an unused kitchen, and a storeroom in which Mr Allen kept his wines and spirits. Adjoining the latter forum was the staircase leading to the gallery. Above this last range of buildings was a wing of the Apollo Hall. It must be understood that this courtyard led to the chief entrance to the th3eatre. Last evening m(Friday) the hotel was open and doing business, but the rest of the establishment was unused and unoccupied, save by the watchman employed by Mr Coppin to take care of the place. 

At about 8 o’clock last evening (Friday) the fire was first observed. The watchman of the theatre, Reuben Sweeny by name, was standing at the stage door in Little Collins street, when a boy going past gave him the alarm of fire. Running into the street, he saw smoke issuing form the building he had left, at a point about the middle of its length. He immediately went into the theatre, and on to the stage, where he saw signs of fire in the north-eastern corner, at the point where, on the other side of the party wall, were the kitchen and spirit room. He then got out the two hose with which the theatre was supplied, and, assisted by Mr Lasson, a neighbouring oyster dealer, and Charles Marshall, a stage carpenter (who ran in with him when he gave the alarm), tried to throw water on the burning place. This they were unable to do. The fire spread with extraordinary rapidity, and they had to escape at the back to avoid suffocation. According to Marshalls account, the pressure of water in the hose so sued was very weak. By this time, however, the alarm had been given more fully, and the United Insurance Fire Brigade, under superintendent Hoad, appeared on the scene. Their first place was to carry the hose into the courtyard, but from this they were soon driven away by the increasing flames and smoke. Firemen were also stationed at other points of the building, their endeavours being directed to prevent the flames spreading to adjoining houses. In this work they were speedily joined by the Emerald Hill, Hotham (under Mr Cook) and East Collingwood (under Mr Daskein), local fire brigades. Altogether nine streams of water were directed on the burning premises. Fortunately the united energetic efforts of the fire brigades proved successful, and with some small exceptions the damage was confined within the walls of the theatre and front buildings, stretching from Bourke to Little Collins streets. On the western side a number of houses were closely adjoining the theatre buildings, but a strong nearly south-westerly wind kept the flames from them. On the eastern side were a row of small one-storey market stalls, usually occupied by poulterers, green grocers, and other produce dealers. Those of these shops which adjoined the theatre premises extending from Bourke street to the point level with the courtyard, were saved with little injury; but those actually alongside the theatre were destroyed by the falling of the theatre wall. Beyond these little shops were the open sheds of the Eastern Market, which could not readily catch fire. The neighbouring houses in Little Collins Street, were saved by the southerly wind.

Although the progress of the fire afforded one of the grandest spectacles ever seen in Melbourne, it was singularly uneventful. Some six or seven minutes after the first alarm was given, the flams burst through the roof, and tongues of fire issued from the row of ventilating apertures under the eaves. This was in about the middle of the building as before described, but with a speed which could scarcely be told in minutes, so rapid was it, the flames extended through the theatre on one side, and into the Apollo hall on the other, till they streamed out through the windows facing Bourke street. In ten minutes more the iron roof of the theatre fell in with a crash, and a huge volume of black smoke issued forth to be changed in another second to an enormous body of rolling, roaring flames. The wind being high, blew clouds of burning fragments across the street, and but for that interval of space, the houses for a considerable distance must have been placed in serious jeopardy. At this stage the fire was utterly beyond control. It does not, indeed, happen often in aby mans life to see flames of such volume and brilliancy. The whole city was lit up by the glare, and every spire and tower stood out in bold relief, as the reflected the ruddy light. The firemen directed jets of Yan Yean from every point of vantage, but it was obviously not to quench the fire, but to keep the walls as cool as possible. Nevertheless, they managed to subdue the conflagration in the front premises. After the fire had been nearly twenty minutes burning, the upper portion of the eastern wall of the theatre gave way, and fell outwards, crushing a number of the small market stalls before alluded to. Being mostly of wood, they soon caught fire, nut were speedily extinguished. About half an hour after the fire broke out, it was at its height. It then gradually burnt out, utterly destroying everything within the four walls extending the entire length of the establishment, except the bar room of Allens’ Haymarket Hotel, which though little injured by fire, was utterly swamped by water. The Bourke Street front remains but inside, from end to end, is only smoking ruins.

The origin of the affair is believe to be, that during the day a fire was lit in the kitchen of the hotel (ordinarily unused) to enable the boys to clean some pint pots.. The fire was left unextinguished, and some hot cinders may have fallen on the “composition” floor, and set it on fire. This would account form a smell of pitch which was said to be observable when the fire was first discovered. It seem that the fire certainly broke out at that particular spot. It should be mentioned, however, that the neighbourhood is alive with rumours as to a previous strong expectation that the theatre was to be burned down on the previous evening. A little girl, named Sarah Anne Brown, the daughter of a neighbour, told Mrs M’Gee, landlady of the Adam and Eve Hotel in Little Collins Street, that the theatre was going to be burnt down that night (Thursday).

Fatal Accident at the Fire

(From the Herald)

About half past seven o’clock this morning (Saturday), two men, named respectively John Jones and ---- Wyatt, were standing amongst the debris in what had been the pot of the Haymarket Theatre. Whilst gazing on the scene of ruin and smouldering ashes, the suddenly heard an ominous kind of cracking indicative of danger, and Wyatt immediately changed his position, and by so doing probably escaped serious injury, or sudden death. Jones, a young managed twenty-three years, residing at Hotham, and a stage carpenter by trade, did not move, and in another moment an iron pillar, or as some state a girder, came plunging down, striking Jones on the head, and crushing him to the ground. As soon as possible a cab was obtained by Constable Baird, who in company with Wyatt, went with the wounded man to the hospital, where surgical aid was at once rendered. The poor fellow, who of course was utterly insensible, was placed on a bed, and his hair was removed with the object of enabling Dr Lawrence to arrive at some conclusions as to the extent and nature of the injuries sustained by Jones, and it then became clear that they were so serious as to give but slight hopes of his recovery. Ice and other strong remedies were applied with promptitude and skill but without avail, as the unfortunate man succumbed to the violence of the injury sustained by him, and died at ten minutes to one o’clock, without having shown a moments consciousness. We understand that the deceased was related to Mr Geo. Loyal, the gymnast.

QUEEN'S THEATRE.— Mr Lazar's Benefit
takes place on Monday next, and need we say
how much this gentleman deserves a bumper.
His industry and perseverance merit the
greatest praise, and we only regret that so
much talent should have received no more
patronage than has been extended towards his
efforts since his connection with theatricals in
this colony. We however trust his benefit on
Monday next will show that the public are not
unmindful of him, and will give him what he
so richly deserves — a crowded house. The
entertainments are well selected, and will, we
are certain, give universal satisfaction

To the editor of the Argus

Sir, - it must be indeed pleasing to all lovers of really good music to watch the rapid advance which the art is making among all classes of our community. The fact was never more apparent than at the Theatre Royal last night. The musical Union and Mr Lyster’s opera company have reason to congratulate themselves upon the successful experiment of introducing instrumental compositions of the very first water to an Australian audience. It has been long urged that the symphonies of Beethoven, Mozart, and others were of too classical a nature and too tediously long, to be listened to with patience and pleasure by a Melbourne audience; but the breathless attention during the performance of Beethoven’s No 2, an the symphonies of Mendelssohn, and the outburst of genuine applause at the termination of each movement, must clearly prove the promulgation of such objection to be in error.

It is to be hoped, now that the experiment has been tried, with result so successful, that our musical societies will often introduce such competitions into their programmes, and that we shall have periodical performances after the same model as those which at the present time command so much public attention in the metropolis and provincial cities of the mother country.

Yours &c.

Allegretto

This fine building,
finished by Mr E. Solomon at an expense of
nearly £10,000, was opened on Monday last, by
an effective and well-organised company under the
experienced management of Mr Lazar—well
known and much respected as the conductor of
the theatrical amusements of Sydney. the
theatre is neatly fitted up, and admirably arranged
for seeing and hearing. The decoartions are
designed and executed by Mr Opie, and reflect
much credit on his skill as an artist. We did
not reach the theatre until nearly the close of the
tragedy (Othello), and can therefore venture to
express no opinion on the particular merits of the
actors—although we presume it would be in
accordance with that of the audience, which
was most favorable. Miss Lazar's dance was
exceedingly graceful, and met a deserved and
[?] encore. This young lady would be
an acquisition to any theatre, as, in adiditon to her
talent in the ballet, her acting in the after piece,
Mary Anne, a farce of Buckstone's, was excellent.
She was well-supported by Mr Buckingham, and
by the other actors. The house was crowded in
every part.

OPENING OF THE NEW VICTORIA THEATRE.
Monday night commenced a new era for theatricals
in South Australia, by the opening of the new Vic
toria Theatre, a full and faithful description of
which appears in another column. The approach
to the theatre has been rendered additionally
imposing by the placing of two lamps of large di
mensions, gilded and ornamented, on either side of
the gate fronting the principal entrance. The in
terior of the theatre, lavishly lit up as it was that
evening, was a magnificent coup d'eail, and the
house being crowded in every part left nothing to
be desired in the ensemble, either as a spectacle not
to be surpassed in these colonies, or in that less
imaginative but more substantial gratification represented
by a well filled house. The act drop is
hardly so effective as we should have expected from |
Opie, the festoons of drapery not being at all in
accordance with the rest of the painting, which is a
landscape, but of what country or clime we fairly
confess our ignorance. The entertainments com-
menced with the band, led by Mr Moore, playing
the national anthem, which was received with loud
plaudits, the whole audience startling. The fol
lowing was the
ADDRESS.
Delivered by Messrs Lazar and Coppin.
Mr Lazar—Although I prematurely perhaps appear,
Time honored custom 'tis which brings me here,
And as I mean to mate but a short speech,
I hope you'll not deem't better in the breach
Than the observance; so, if you're agreed,
Without a further prelude I'll proceed.
Permit me shortly to remind you now,
That on this selfsame stage, T made my bow
Eleven years since, nor ever wished to range
Till forced by adverse circumstance to change.
When I with grief the Drama's temple saw,
Alas ! perverted to the woes of Law;
Ungentle service, from whose pond'rous yoke
Thalia flies and leaves the field to Coke."
Here then, where oft we drew the gushing tear,
And raised the laugh thro' many a circling year,
Far harsher themes have been—
Mr Coppin—Ob, come Lazar,
You push the sentimental much too far,
The audience know full well this wa3 the Court,
For few are here but what have seen the si>ort,
And in broad farce colonial actors are
Inferior to their bretli'ren of the bar.
L.—I wish you wouldn't be quite so abrupt,
And come in thus my speech to interrupt,
Upon my word it's really not polite—
C.—Oh, cut it it short, you'll keep 'em here all night |
And sooner than remain to hear your prose
I'll ring the bell, and up the curtain goes.
L.—Do as you please, but I no part shall play
Until I've finished what I had to say.
C.—Well then out with it, and as here I've stood
So long in waiting, give us something good.
L.—Ladies and gents, then here long since I bore
Dramatic sway—
C.— You told us that before,
L.—Here was the tragic Muss's chosen seat,
C.—And actors but short commons had to eat.
L.—There great O. G., established his arcade,
C.—Did he ? I wonder in what year t'was made,
L.—But when blind Justice here had fixed her seat, |
Forced to withdraw though with unwilling feet,
We in a smaller circle had to claim
Your kind support, and found it still the same.
For which, with zeal and gratitude inspired,
We 've here resumed—
C.—Oh, fudge! they're getting tired,
And don't want such long rigmarole orations
To make 'em notice the fresh decorations.
L.—We'll, then, I'll merely just express my hope
That, you kind patrons,—
C.—Now for the soft soap—
L.—In our New Constitution will, with ease.
Assume your seats, although no nominees.
.Since our desire is to amuse all classes,
And though no Chartists, lecture to the masses,
With cant and humbug ceaseless war to wage,
And prove., while illustrating Shakespeare's page;
Or the productions of the modern mind,
That mirth and morals may be well combin'd.
I could say more—
C.—No don't, I beg. say less.
—But, as time presses, I'll be off
C.—To dress; and, for the self same reason, I
. Must also, for the present, say, Good bye.
Meanwhile, believe
L.—That each succeeding night
C.—Your presence here
L.—Will yield us
C.—Fresh delight.
For naught so well the Actor's mettle rouses,
As the dear spectacle of crowded houses,
L.—Cramned with enlightened citizens and spouses.
[Prompter's bell rings.]
C-—But let's decamp, for, hark, the prompter rings,
So exeunt omnes at the several wings.
The address was well received, and the hits told
well with the audience. The band having played
the beautiful overture to Don Giovanni, the act drop
rose upon the first scene of Stirling Coyne's popular
extravaganza of "This house to let, enquire within."...

John Allan, of theatrical celebrity, pleaded
not guilty to an assault upon John Davis, of
the Sydney Hotel.
It appeared in evidence, that on the day of
the grand meetingl at the theatre, while Mr.
Worthy Worthington George Nichols was en-
lightening an audience of the British public
with the sublime and beautiful, a farce of an
equally amusing, though not quite so harmless
a description, was taking place in the back-
ground. Allan, the defendant, the man what
perform the savage'ruffian, and ferocious mur-
derer at the Queen's Theatre was giving a
lesson in private theatricals to the complaitant,
the said John Davis, who was standing in
the rear oï the platform. Allan commenced
by first informing him, that his rank not being
that of a gentleman, he was not entitled to be
on the stage. Davis not thoroughly under-
standing the argument, seeing so many of the
unwashed around him, replied he should not
move off. Allan, who, by the bye, has studied
the pugilistic art in the polite circles ot Europe,
then got hold of Davis round the neck, pin-
ning him with his left, and administering
divers blows with the right, on the cranium,
or frontis, and various other osées of the
defendant's person. This was the assault and
grievance complained of, and for which com-
plainant sought redress of the court.
The Magistrates then ordered the defendant
to be bound over in his own recognisance to
keep the peace for six months, and defray thè
costs of the present action.-Communicated.

We perceive this Theatre
opens on Monday next, and are happy to see His
Excellency give his patronage to the Drama of
South Australia. Mr Lazar has conducted the
Queen's Theatre upon a level with many of the
Theatres in London, and the Governor's liberality
in supporting the humble [?] of thespis
deserves the highest praise. Mr Lazar's perse-
verance and talent have made him a universal
favourite, and we are certain his efforts to merit
the high patronage bestowed upon him will be
exerted to the utmost. A theatre is an instruct-
tive source of entertainment, for while it cheers a
dull and monotonous hour, it frequently conveys a
wholesome lesson to youth, by which their future
morals might be regulated, and when the drama
is conducted upon a respectable system, the most
fastidious need not blush to partake of the amuse-
ment it affords. As an example, we find Her
Majesty widely extending her patronage to the
drama, under whose gracious auspices it cannot
fail of success. Mr Lazar has selected as an
opening piece a pictorial drama entitled The
Curse of Mammon, in which Hogarth's celebrated
Marriage a-la-mode will be illustrated in living
characters. We understand the scenery and
dresses are of the most unique description, and
the play itself one of the most successful that has
been recently produced in London. for our-
selves, we wish Mr Lazar all the good forture his
spirited undertaking deserves, and we hope the
public will not be backward in patronising the
new lessee. A Dance by Miss Lazar, and a
laughable Farce called The Dancing Barber, con-
clude the first night's performance, [Communi-
cated.]

The season of this theatre is now drawing towards
a close, and the various artists connected with the
establishment seek to repay their exertions by
the usual means of benefits. Mr Lazar, the re-
spected manager, takes the first on Monday next;
and we must say, his indefatigable perseverance
in the cause of the drama in Adelaide has been
exerted to no common extent. Exclusive of the
difficulty of catering for public amusement, we
have noticed him in two or three pieces each
night, always at his post, and provided with a
fund of good humour. As an actor, too much
praise cannot be bestowed on him; as a manager,
the good taste of his selections and the creditable
arrangements of the theatre and the business of
the stage proves him to be a clover tactician.
The entertainments selected for Monday next,
exclusive of Mr L.'s own popularity, would attract
a crowded house. Mr Edwards and a gentleman
amateur, we observe, are to render their powerful
vocal assistance. We trust the public will not
be slow in testifying in a substantial manner its
approval of the conduct of Mr Lazar. The box
list, we hear, already exhibits a promising ap-
pearance.

By our theatrical advertisement of to-day, we
perceive this deserving young lady takes her
benefit on Monday next. The gentlemen amateurs
who have already appeared twice before the public
have very handsomely come forward to lend their
valuable services upon this occasion. The bill of
fare promises a splendid night's entertainment,
and we anticipate a bumper house. Miss Lazar
is an industrious and promising actress, and, as a
danseuse, she requires no comment from us, as
the public generally have testified their approba-
tion of her talent, in that department, upon every
occasion. Nell Gwynne is an amusing play, and
we have no doubt, from the cast, that it will be
admirably played. Mr Lazar's Largo at Factotum
is a treat at all times. Billy Taylor is a laugh-
able affair, and well adapted to Mr Lazar's rich
comic humour. Upon the whole, the selection is
decidedly one of the best of the season, Com-
municated.

THE THEATRE was re-opened on Monday for
one evening. The house was tolerably well filled,
and the acting good. We believe it is the intention
of the proprietor to open it again once or
twice a week.

QUEENS THEATRE.— We preceive this
Theatre has again opened, and in the precertaiuly
dull times it is certainly a relief to
the monotony of the town. On Monday
last three excellent Farces were produced
in each of which M. Lazar kept the house
in continued laughter ; the Groves of Blar-
rney introduced between the peices, is a
rich treat, and we trust Mr. L. will often
favor us with it. The Company selected
is very limited, but quite sufficient for the
style of pieces calculated to amuse an Audience.
the expenses are now considerably
curtailed and we hope, the Theatre will now
pay. The house is splendidly lighted
and has a very animated appearance, and
we trust the Public will appreciate the very
spirited zeal of the Proprietors.

We perceive by our ad-
vertisement of to-day that this Theatre opens for
one night prior to the regular season commen-
cing on Thursday next, when Mr Lazar under-
takes the arduous task of an At Home after the
manner of Matthews. We have every opinion of
Mr Lazar's versatility of talent, and therefore an-
ticipate a rich treat. This is something new in
this part of the world, and we have no doubt of
its drawing a crowded house. The programme
of the bill is very cleverly concocted and highly
amusing. The concluding part appears to be a
complete farce in itself, in which Mr Lazar per-
sonates all the characters. We wish him every
success. We regret to hear that Mrs Cameron
does not join the corps dramatique of the Queen's
Theatre next season. She is an excellent actress,
and we are surprised that, in the present
times, she and Mr Cameron should have refused
what we take to be a liberal salary of four
or five pounds a week. We sincerely trust Mrs
Cameron will think better of it, and not deprive
the public of the pleasure of seeing her in re-
spectible company. It is quite clear that the
attempt to re-open what has hitherto been but a
den of filth and debauchery, the Victoria Theatre,
will neither add to their wealth or their respecta-
bility. Mr Lazar, who has taken the Theatre
for the ensuing season, is making considerable
alterations and improvements both in the stage
and audience parts, and we hope that patronage
which has been so anxiously sought for will now
be extended to this splendid establishment. We
understand the whole of the company have very
generously consented to take smaller salaries
than they received last season, which liberality
the Manager will, no doubt, repay, in the event
of the speculation turning out advantageous.

Mr Lazar's Benefit
takes place on Monday next, and need we say
how much this gentleman deserves a bumper.
His industry and perseverance merit the
greatest praise, and we only regret that so
much talent should have received no more
patronage than has been exetended towards his
efforts since his connexion with theatricals in
this colony. We however trust his benefit on
Monday next will show that the public are not
unmindful of him, and will give him what he
so richly deserves — a crowded house. The
entertainments are well selected, and will, we
are certain, give universal satisfaction.—
[Communicated.]

On Monday last the
Theatre closed for the season, being for the
benefit of the proprietor, Mr Solomon; and
we are happy to state the house was crowded
on the occasion. We have repeatedly spoken
of the manner in which this theatre has been
conducted, reflecting the highest credit on the
proprietor and the management. Mr Lazar
has been certainly indefatigable, both as actor
and manager, providing for the audience a
fund of humour as the former, and of novelty
as the latter. On this evening The Exile
was reduced in a manner that astonished us—
surpassing even the splendour of the Jewess.
Could an audience have supposed they were in
a colony little more than four years established,
and at such a distance from London? The
scenery was picturesque, the dresser appropri-
ate, and the characters ably supported. The
processions were admirably arranged, and the
brass hand suddenly bursting on the audience
as they were seen proceeding through the
arch from a great extent of stage, had a most
imposing effect, and drew down immense ap-
plause. The Empress, on a beautiful white
horse, added to the spectacle, and the whole
appeared to give universal satisfaction. Mr
Lazar, as Daran, played with much feeling and
judgment, giving every sentence with great
correctness. Mrs Cameron, as Alexina, was
good, as were also Mr and Mrs Arabin and
Miss Lazar. The other characters are of little
importance to the piece, but, notwithstanding,
were well sustained. The Carnival Ball was
the concluding piece, and the last scene cer-
tainly was magnificent. The blaze of light
occasioned by the number of transparent lamps,
strongly reminded us of those scenes in Fairy
Land described in the Arabian Nights. In
fact, every thing that could possibly please the
eye appeared to have been studied for this
night. Previous to the certain rising for the
farce, Mr Lazar stepped forward, and was
received with an unanimous burst of applause
which continued for some time, and delivered
the following neat and appropriate address:—
"Ladies and Gentlemen—It has long been
the custom previously to the curtain finally
closing on the season, to address a few words
to the friends who assemble to bid us farewell
It is a painful yet pleasing task—painful, from
being a leave-taking of kind friends—pleasing,
because I am enabled to express gratitude for
favors past, and have to hope this separation is

not a final one As the opening of a theatrical
season brings with it hope, so the close as na-
turally produces regret. We met you only
six months ago with buoyant spirits, and we
now take our leave with unaffected sorrow.
In an infant colony like this, it cannot be sup-
posed possible that we can vie in splendour
and variety with the London theatres, but I
trust, Ladies and Gentlemen, the efforts we
have made to merit your approbation have
proved our willingness to consult your accom-
modation to the very utmost extent of our
ability. During our short campaign we have
had to thank your indulgence for the complete
success of every novelty we have presented.
The performers also wish to express their high
sense of the kindness you have shown them,
and I hope, Ladies and Gentlemen, it may not
be deemed intrusive if I take the liberty of
thanking each of them who have, by their
zeal, alacrity, and talent, carried with effect
every intention of the management. The re-
sult of the present season has not been so
beneficial to the proprietor as his spirited un-
dertaking merited, which, in a great measure,
may be attributed to the depressed state of the
colony, and not to the want of your kind
wishes; but we look forward with pleasing
anticipations to the next, and, aided by your
kind patronage, will be another proof added
to the many how little he has to fear the want
of success who advances anything like a
genuine claim to the liberality of a British
public, as every individual is served when
the general cause is supported. I feel my own
personal thanks are also due; accept them, I
beg, and with them my heartfelt prayers for
your happiness and my sincere wishes that we
may meet again; and I hope when I have the
honor of bidding you welcome at the next
meeting here, I may give this greeting to as
numerous and as elegant as audience as that
to which I now bid FAREWELL." This grate-
ful acknowledgment was loudly and enthusias-
tically applauded, and Mr Lazar retired amid
the continued cheering of the audience. Mr
L. has taken the theatre for the ensuing sea-
son, and we have no doubt he will be strongly
supported.

We are happy to see the
houses so rapidly improving at this very elegant
and commodious place of amusement, and we
have no doubt the proprietors will ultimately
reap the harvest they so richly merit. Novelty
seems the standing order, and each night the
public are treated with some interesting drama,
a dance from our Australian Taglioni, and a lively
farce. The Tower of Nerle was splendidly got
up on Monday last, and attracted a very fashion-
able audience; the principal character was ad-
mirably sustained by Mr Lazar, who was well
supported by Messrs Cameron, Arabin, and Mrs
Cameron. One Hour, or the Carnival Ball, has
been also produced in a superior style—the ball
room scene at once realizing all the splendour of
a Venetian carnival, the stage being a complete
body of illumination. We understand Captain
Sturt, and several other influential families in-
tend patronising the Theatre on Monday next,
and we have no doubt the entertainments of the
evening will be well selected by the indefatigable
manager, Mr Lazar. We must not forget, how-
ever, to mention the orderly manner in which
the Theatre is conducted, reflecting the highest
credit on those concerned—we have visited the
principal theatres in England, and never witnes-
sed a greater degree of order preserved than in
the Queen's Theatre.—[Communicated.]

Open during the present week, Monday, Thurs
day, Friday, and Saturday.
MESSRS LAZAR & COPPIN
BEG most respectfully to acquaint their friends
and the public generally, that the above
SPLENDID THEATRE,
Being now completed, will Open for the Season,.
THIS EVENING,
Monday, December 23rd.
With an Occasional ADDERSS to be spoken bv
MESSES LAZAR & COPPIN. .
It is unnecessary to dilate upon the vast outlay
expended upon this Establishment, to render it an
agreeable and commodious place of Public Amuse
ment, suffice it to say that every care and attention
has been paid to render it complete in every De
partment, and to conduce towards the comfort and
entertainment of the public.
THE DRESS CIRCLE
Is replete with every elegance and convenience, to
which are attached a
ladies' retiring room, and splendid
SALOON,
Where Refreshments may be obtained.
THE PIT
Is constructed upon the principle of the Princess's
Theatre, London, commanding a distinct view of
the Stage, and, for the purpose of maintaining pro
per order, an efficient Police will be in constant at
tendance.
THE GALLERY,
Capable of containing 400 persons, will be found
to possess every requisite for seeing and hearing.
The Stage Department,
(The most extensive in the Colonics), will be
brought into operation for the production of
GORGEOUS SPECTACLES,
As early as the Mechanical Arrangements arc com
pleted.
The Theatre will be lighted by
FIVE MAGNIFICENT CHANDELIERS,
Expressly imported from England. The Orna
mental and Decorative Designs are copied from the
most classical subjects, and executed by Mr E. A.
Opie, the whole forming a Tout Ensemble never
yet equalled in the Australian Colonies.
Engagements arc pending with some of the most
Established Favourites of Sydney, Melbourne, and
Hobart Town, who will shortly make their first ap
pearance in Adelaide.
THE ORCHESTRA
Will embrace the Leading Talent of the Colony,
viz.:—
Leader—Mr Andrew Moore,
Assisted by'
Mr S. W. AVallacc, Hcrr Mater, Herr Ziegler, Mr
Harwood, Sir Lawrence, Ilerr Ilcunerbein, Herr
Kierdel, and Mr Chapman.
The Performances will commence with a Musical
Extravaganza, entitled
THIS HOUSE TO BE SOLD,
(The property of the late William Shakespeare).
INQUIRE WITHIN.
I To be preceded by Mozart's Overture to Don
Giovanni.
For Characters see Bills of the Day.
IN THE COURSE OF THE EXTRAVAGANZA
WILL BE SUNG—
" I'm a Gent, I'm a Gent" Chopkin?.
Song—" OIc Will Sat at Covcnt Garden Gate" ..
Othello.
Trio—" Who's dat knocking at dc Door".. Othello,
Desdemona, and Chopkins.
Chorus of Characters—" Round, around, around,
about,"
The last scene will represent a Grand Tableau of
Shakespearean Characters surrounding the Im
mortal Bard, the Spirit of Poetry poised in the
air, placing a Crown of Laurel on his brow.
SONG MR. C. WALSII.
Niggkiz Bai.j.ad—"Carry me back to Ole Vir
ginity"—(Bones and Tambourine Accompani
ment) . .Julius C«sar Squash.
In the course of the evening, the Band will play
Several New Folhas, Waltzes, $-e.
To conclude with the Musical Farce in two acts, of
Dove Laughs at Locksmiths.
To be preceded by Auber's Overture to Massaniello.
GST The Entrance to the Dress Circle will be
from Gilles' Arcade ; the Pit and Gallery from
Weymouth-street. Doors open at half-past 7,
commence at 8 precisely. Dress Circle, 4s. Pit,
2s, Gallery, Is. Half-price at to 10. Dress
Circle, 2s Gd. Pit, I s. No half-price to the Gal
Icrv.
N.B.—A Box Keeper will be in attendance at
the Theatre daily, from 11 to 4. Six Private Boxes
have been added to the Dress Circle, which may be
engaged Nightly, or for the Season, upon applica
tion to Mr Lazar, Temple Tavern, or Mr G. Cop
pin, Royal Exchange. Season Tickets may also
be had, single or for parties, upon application as
above.
All Accounts against the Theatre, to be for
warded every Saturday for payment from eleven
until one.

Last evening the lovers of dramatic representation were
gratified to their hearts' content, by witnessing the per-
formances of their old favourite, Coppin, who fully sustained
his former reputation by his clever personification of Mr.
Leeson, in the comedy or ' Time Tries All,' and of Grim-
shaw, in the farce of 'Grirashaw, Bagshaw, and Brad-
shaw.'
The hits in ' Billy Barlow ' were as clever as usual, and
exceedingly well- sustained. ' Billy Barlow ' had realised
the truth which has become patent to so many of our
fellow-colonists, that ' all is not gold that glitters,' and
'Billy' wisely resolves for the future to abandon the
diggings, to stick to South Australia, and trust to the
Escort, composed, as he says —
' Of good men and true
' All made of the same stuff as
'Billy Barlow,'
and with a glance of self-complacency at his care over the
grass widows, and a happy hit which drew roars of applause
from the galleries, that the swells carried their pretensions
rather humbly at the diggings, ' Billy Barlow' concluded
one of the most successful and happy pieces of humour
we have heard him deliver.
An old favourite, Mrs. Cameron, sustained her part well.
The orchestra was small but, led by Mr. Lee, was quite
effective, and the evening passed off most agreeably and
orderly.

I cannot allow this, which will be my last oppor-
tunity to pass without acknowledging the many favours
received at the hands of the South Australian Public. A
residence of six years has not only attached me to the
Colony, but to many true and sincere friends, whose
assistance in the hour of need, end gratuitous offers for the
future, have materially increased the reluctance and pain I
feel in saying Farewell.
Trusting Dame Fortune may place it in my power to
make my absence of temporary duration, and that I shall
continue to deserve and enjoy the good opinion of my
friends and the public generally, with sincere wishes for
the prosperity of the Colony and its Inhabitants,
I am, Liberal Public, your obliged and grateful Servant,
GEORGE COPPIN.

MESSRS. LAZAR & COPPIN, in laying the
following statement before the public, regret that
their exertions in providing a rational entertainment have
met with so bad a return. Nothing on their parts has been
wanting to secure the talent, not only of this, bat of the
sister colonies, and to produce such entertainments as those
who have patronised the Theatre acknowledge to be highly
gratifying. Notwithstanding this the losses have been so
great as to leave no other alternative than CLOSING the
THEATRE after the next TWELVE NIGHTS' PER
FORMANCES, when Messrs. LAZAR & COPPIN will
then take their
FINAL LEAVE OF THE STAGE.
' Adelaide, October 8th, 1851.
' Mr. Emanuel Solomon,
' Dear Sir — We regret exceedingly that, from the want
of that patronage we were induced to expect would be ex
tended to the Theatre, we are compelled very reluctantly to
inform you of the utter impossibility of our being longer
able to support it. We, therefore, rely upon your acknow
ledged liberality to relieve us from the fulfilment of the
terms of our lease.
We have only to assure you that nothing but the very
severe losses we have sustained, amounting to more than
£800, would induce us to make this application.
' We, at the same time, can only regret that the large
outlay which you have made upon the Theatre has not met
with that liberal response from the public which the spirited
speculation deserves.
' We are, Sir, your obedient servants,
LAZAR & COPPIN.

' Gentlemen — I am in receipt of yours of this day's date,
and am very sorry to find that you cannot make the Theatre
sufficiently remunerative to continue it. I was induced by
and at the request of a number of influential families in
Adelaide to refit the Theatre at an expense of upwards of
£2,000, fullv believing that when a place of public enter
tainment, elegantly fitted up and properly conducted, was
established, the patronage of the public would have been
extended towards it. I regret, however, that for your sake
and my own, such has not been the case.
' I shall feel myself bound to accede to your request, and
at the same time you can, before giving up the Theatre,
have it for twelve nights rent free, to retrieve a portion of
your loss.
' Yours truly,
'E. SOLOMON.
'Adelaide, 8th October, 1851.

 Messrs. Lazar and Coppin.'
Messrs. LAZAR & COPPIN cannot close this correspon
dence without thus publicly returning thanks to Mr.
Emanuel Solomon for the very ready and uncompromising
manner he has acceded to their request, and at the same
time call upoa the public to extend their patronage and
support to the
LIMITED NUMBER OF NIGHTS ADVERTISED.

PUBLIC NOTICE.
IN compliance with the request of several influ
ential Families and Patrons of the Theatre,
who have expressed a wish that a number of Shares
should be issued, in order to secure a respectable
and Bnmerous attendance, the Proprietors beg to
put forth the following liberal scheme to ensure the
same :—
The price of Shares will be 5/ each, payable in
advance, which will entitle the holder to a ficee
admission to the Victoria Theatre (commencing
from the re-opening) for the twelve months. A

balence sheet of the affairs of the Theatre to be struck
every three months, and the profits to be equally
divided. Shareholders are guaranteed from loss
or responsibility, and will not be called upon to pay
anything above the £5 per Share. Not more than
fire Shares will be issued to any one person,
any part of which may be re-sold, but will not be
transferable after the name of the holder is entered
on the Free List of the Theatre.
Early application required, as the numbers aro
limited.
N.B.—The above Shares will not extend to Bene
fit Nights.

he trouble developed
during: the last few min-
utes of the final Mel
bourne performance of
"Cinderella" when Trin-
der interpolated an ad
lib sequence.
Trinder recalled several
chorus girls who were
leaving the stage during
the final scene. He lined
them up and marched
them around the stage
in military drill fashion.
The show ended, the
curtain carne down, and
the audience applauded
wildly, expecting curtain
calls.
After two or three
minutes Jim Gerald,
comedian, came through
the curtains and made
a short speech. Gerald
then left the stage, and
several more minutes
elapsed while the audience
called for Trinder.
Trinder finally came
on stage, pale and agi-
tated, and apologised lo
the audience for having
kept them waiting. He
explained that he had
been having a discussion
with Mr. Martin back-
stage.
Trinder then called
through the curtains to
Mr. Martin, who carne
through to the front of
the stage. Mr. Martin
made a short speech,
praising Trinder and ex-
pressing hopes for the
success of the comedian's
New Zealand tour.
"Tell them!"
Trinder, almost in
tears, then turned to Mr.
Martin and shouted:
"Now tell them what
you said in front of
everyone backstage -
that I am a disgrace lo
show business and can
go back to England on
Monday."
Turning to the
audience, Trinder then
announced: "I've been
sacked."
A section of the
audience laughed, taking
the announcement as a
joke, but the whole of the
house soon afterward
i realised that the comedian
was serious.
Trinder briefly fare- »
welled the hushed
audience; then retreated
through the curtains,
leaving Martin, flushed
and embarrassed, alone.,
on the stage. . .*''
The orchestra then
began to play, and Mr.
Martin left the stage as
the shocked audience
began to'drift out of the
theatre.
A crowd waited until
about 12.30 a.m. at the
stage door for Trinder,
but he remained in the
theatre, still wearing
make-up and a dressing
gown, to talk with mem-
bers of the company.
"Sacked"
Interviewed in his
dressing-room about 1
a.m., Trinder said: "I
don't know where I stand.
All I know is that I was
sacked last night.
"My bit of tomfoolery
on the stage was harm-
less, and the customers
loved it. Everyone knows
that ad-libbing is my
stock-in-trade.
"My contract with the
Tivoli was only a verbal
' one, and if Mr. Martin
wants lo put me on a
new contract he can
come and sec me."
Mr. Martin, inter-
viewed a few minutes
later in his office at the
ft ont of the theatre,
said: "Some artists arc
very temperamental. I
believe Tommy was defi-
nitely wrong in what he
did last night. Perhaps
I was a little undiplo-
matic in my handling of
the situalion.
"Tommy has been
drawing £1,250 a week.
Settled
Trinder, told of this
proposal, said: "This is
ridiculous. He can see
me here or at my flat."
Trinder announced
shortly after midday yes-
terday that the dispute
was settled. He said:
"Mr. Martin and I had
a long discussion in my
drchsing-room until about
4 a.m. and cleared up the
whole unpleasant busi-
ness.
        

By THE CHIEL
Handicapped by conditions without
parallel in the history of the stage
in Melbourne, owing to the dispute
with the Actors' Equity (see page
3), the musical play "Viktoria and
Her Hussar" was presented at His
Majesty's Theatre on Saturday night.
Although members of the equity re-
frained from demonstrating either
inside or outside the theatre, ab-
sence of the chorus imposed a heavy
strain on the principals.
It was a courageous gesture on the
part of the cast to undergo the or-
deal m the circumstances; that they
carried the show through success-
fully was a still higher tribute to
their courage. Wherever the merits
of the dispute may lie, there was no
doubt as to the feelings and sympa-
thies of the audience. The keynote
was struck before the curtain rose
by the prolonged applause that
greeted the appearance of Mr Claude
Flemming in one of the boxes.
The music by Paul Abraham pro-
vides some pleasing and well-remem-
bered numbers. Chief among these
are "Sweet Love's Dream" and
"Petals of the Plum," in both of
which Gladys Moncrieff, as Viktoria,
scored heavily. Fred Murray as Count
Ferry Hegedus, and Miriam Lester as'
O Lia San made a notable success of
their infectious and hilarious duet
"Mousie." Herbert Browne's "One
Girl Only ni the World For Me" was
another highlight.

The new theatre royal – concerning which small talk has long been busy – was opened last night under the management of Messers Harwood, Stewart, Hennings and Coppin. The pit, stalls and dress circle were crowded to suffocation. The galleries were not so well filled.

We have already given particulars of the construction and decoration of the theatre, and it only remains to describe the effect which the decorations and furniture produced when viewed by gaslight. The dress circle is furnished (by Messers Cohen Brothers, of Lonsdale street, who are the contractors for the upholstery) in red damask, the effect of which is to our thinking somewhat sombre. The stalls are supplied with cane seats, with arm divisions of kauri pine for each person; and in both parts of the house attention has been paid to the comfort of the audience. The panelling and painting is rich and tasteful. The liberality of lighting and the multiplication of chandeliers gave to the auditorium a most brilliant appearance and when the first notes of “God save the Queen” drew the immense house to its feet, the scene was a remarkable and exciting one. The same fault which was so marked in the old Royal – the extent to which the upper boxes overhung the dress circle – has, however, not been omitted to be reproduced. The acoustic properties of the house are good, its appearance elegant and airy, while the marked improvements in stage accommodation and increased facilities for exit and entrance render it a theatre second in convenience to none of its size in Europe.

The singing of the national anthem completed, Mr Hennings new drop-scene was exhibited. The subject chosen is a view of a lake and mountains. It is impossible for Mr Hennings to paint anything which is not artistic, but in this instance we can but agree with Goldsmith’s admirer of Pietro Perugino and say that “the picture would have been much better had the artist taken more pains.” It is barely finished, and bears marks of great haste. The painting is not worthy of the first theatre in the colonies. This complaint of hastiness may be made indeed with reference not only to the other parts of the building but to the performance which initiated the season. The bars, café, and lounge are in a condition of bricks mortar and mud which his utterly abominable, and the bill of fare set before the audience was of the most meagre kind. Mr Coppin has given his reasons for the non appearance of a company in his speech, and doubtless to him they are all sufficient, but there was no necessity to open the theatre at all until it was completely finished, and furnished with actors. Mr Coppin has a good stock comedy company in Adelaide; if he could not get them back in time to open his theatre, he might have accepted the results of his arrived. “To Oblige Benson” and “Milky White” are good pieces enough, and were very defective arrangements, and waited until they well played, but we maintain that there are not the sort of plays to produce upon the opening night of the leading theatre in Australia, and we regret that the tradesman-like consideration of the pocketing of a few hundred pounds during the race week should have induced the management to thrust second rate pieces upon the boards of an unfinished theatre.

The opening address was written by Dr Neild and spoken by Mrs Collins, late Miss Docy Stewart, who has returned to the stage where she made so many friends. It is as follows:-

It seems indeed but as the other day,

That here a heap of smoking ashes lay, 

O’erhung by blackened walls that high appeared

Their ruined length, like ramparts lightning-seared

It was, in truth, a very tristeful scene

Nought left but memories of what had been;

Mind-thronging memories of things long sped,

Of those in other lands, and of those dead!

A lengthened pageant passed before the eye

Through that black void, all open to the sky

And it was hard indeed to vanquish tears

To think that of the glories of gone years

The ruthless fire no monument had left,

But into devastation all had swept.

The boards that Brooke so oft had trod were gone

Those on which Rogers in his best days shone

On which, too, we were wont, erewhile to see

The ideal Hamlet in Montgomery

Where Jefferson his perfect skill displayed

And fine old Alberts last farewell was made

Where, later, Mathews with consummate art

Seemed all he played, yet seemed to play no part;

Where hosts of others, not unknown to fame

Had left a more or less enduring name –

Gone was the place – scene of their glories all –

Spent like a fleeting day dream, past recall

But yet, though dismal ruin sat and frowned

On smouldering beams, still sacred was the ground;

Although the temple to the earth was cast

Its history stood still grandly in the past

So long the drama’s home had flourished here

‘Twere profanation other pile to rear

Destructions hand had crushed to dust the lane

What then remained? Why – build it up again

Hence active brain, with busy hand combined

(Alliance potent, muscle wed with mind)

Resolved this drama’s temple to restore

A fairer building that it was before

And in short spaces as if by wizards will

The structure ’gan the dreary void to fill

Soon there was seen a goodly house well planned

Worthy of the foremost southern land

And of the drama worthy too, we trust

Albeit they say the drama ‘s in the dust.

But that’s a slander, and we hope to show

Not yet it hath received its mortal blow

But this in passing. Nathless be it said

If now the drama be in truth quite dead

Faded and withered never more to bloom

That we have built for it a fitting tomb

But will I not believe that so’t must be

Not ended yet the drama’s history

So long as passion stirs the human breast

And the soul hath its tumult and its rest;

So long as men in life’s hard battle fight

And wrong for victory contends with right

So long a loves great lever moves mankind

So long the drama, worshippers shall find

And when the last man utters his last sigh

Then but not till then will the drama die

Tis nothing that it changes oft its mood

That all the muses in their turn t’as wooed.

That mad burlesque hat sometimes favoured been

And art been hidden by sensation scene –

These are but shadow phases and the light

Will come again, as it of erst was bright

Bit howsoe’er, or whosoever it be

Burlesque, sensation, or pure comedy

Tragedy, farce, or aught of all the rest

We here will strive to please you with our best

I speak for all my friends, I who awhile

Here basked in the sunshine of your smile

Grateful I come for many favours past

And the first part of which you find me cast

Is this, the pleasantest of many a part

To bid you welcome from my inmost heart

Take then my greeting, warm as words can make

And I your pleasant greeting back will take

For tis a night of greetings, as’t might be

In a long separated family

Our house is built again, let us rejoice

With one united and outspeaking voice

And as the roof tree rattles with our cheers

Lets wish’t may last at least a thousand years.

The applause was frequent, and Miss Stewart – as she still chooses to be termed – may feel proud of the hearty and appreciative cheering which greeted her appearance. After the first-piece, in which Mr Coppin, as Trotter Southdown was as amusing as of yore, occurred the event of the evening – the managerial speech. We print it verbatim:-

“Ladies and Gentlemen – it is usual at the commencement of a dramatic season to announce coming events. I will not do so upon the present occasion, because I am much in the dark in reference to the future managerial policy of the theatre as any sleeping partner in the depths of somnolence can possibly be. The next mail steamer brings Mr Harwood, who will, I have no doubt, give a very satisfactory account of his search for novelties and talent in the old country. As I cannot enlighten you as to the is to be’s I will make a few remarks about the has beens and the is-s-s-s. You are no doubt aware that I was burnt out of the Theatre Royal. You may have heard that my positive losses exceeded £5,000. In fact, if the stock of old scenery and machinery destroyed were valued in proportion to the cost of the new, my losses would exceed £7,000. You can all understand that the disastrous event was neither agreeable nor convenient. The ashes of the old Royal were undisturbed for months. The property was advertised for sale, or to let. Appeals were made in the newspapers to the enterprise and public spirit of our wealthy colonists to restore the legitimate home for the drama, but without a response. As no one else would face the breach, I came to the fore again, and leased the ground for 99 years, through the negotiations of Mr. Auctioneer Knipe. I selected my architect, had plans prepared, and accepted tenders for the building. I negotiated for insurance in England, and let the theatre for five years to Harrow and Co. Now, many persons would say – why didn’t Coppin float the Theatre Royal Proprietary Association before making himself liable for £20,000 because we all know that he hadn’t the money to carry it out? He couldn’t say – Alone I did it. I’ll tell you:- I am a member of one or two excellent associations that are perfectly dormant at the present time, in consequence of the inaction and want of sympathy on the part of some of the directors and the secretary. There are many persons in this world that either cannot or will not do anything themselves, but constantly oppose the exertions of others that are willing and competent to undertake the responsibility of guaranteeing success. With this mortifying experience I arrived at the conclusion that when you wish to carry out any undertaking, the safest way is to keep the power within yourself until the arrangements are so far advanced that they cannot be altered. After entering into all my engagements, I then issued a prospectus for the formation of a company to carry them out. The shares were disposed of by Mr J P Macdonald. My plans have been most literally endorsed by the directors, who – whilst protecting the interests of the shareholders, have not neglected the comfort of the public – and the result of this little bit of management is the magnificent building you now occupy, which I think ought to satisfy the demands even of those gentlemen which were liberal enough to dictate the expenditure of other people’s money by building theatres in the air through the newspapers. I cannot too highly praise the talent and energy displayed by my architect, Mr George Brown. His heart was evidently in his work and the result must elevate him greatly in public estimation. The services of Mr Powell have been most valuable as clerk of works, from the experience he gained in his connexion with building, the old Royal and Haymarket Theatres. The contractors, messers Hood and Brown, have carried out their works in a substantial and tradesman like manner. I cannot now enumerate every person that is entitled to honourable mention – from Mr Hennings down to the most humble labourer employed there has been a general desire to make the theatre a success – to each and all I tender now my thanks. I need not tell you that we are in an unfinished state. It would be a pity to spoil the Brussels carpets by placing them upon the floors whilst the plasterers are at work. I should therefore advise you to come every night to notice the gradual improvements until we arrive at completion. I have no doubt that some amount of disappointment exists (in which I heartily join) at the non-appearance of the ladies and gentlemen intended to open the theatre. The fact is that a great portion of the company is under written engagement ‘to open the Theatre Royal on or about the 7th of November. You see I calculated my opening night very closely some months ago. Without thought, engagements were afterwards made for a three months season in Adelaide, and when noticed to appear this evening, they found themselves in the awkward position of having to break one of their engagements. Managerial pressure, through the violation of a distinct understanding, compelled them to remain in Adelaide until the 19th of November, and we had to form another company not a very easy task with two other theatres open in Melbourne. The fortunate arrival of Miss Rose Evans placed novelty and talent at our disposal, and tomorrow evening I thoroughly anticipate one of those great successes for which the old Royal was so celebrated. And now, ladies and gentlemen, permit me to thank you most sincerely for your attendance here this evening. Although I shall not take any active part in the management of the theatre, I shall occasionally pop in, and hope I don’t intrude. On behalf of Harwood and Co, I can assure you that every exertion will be made to insure the liberal patronage and support that they had the good fortune to enjoy during their former years of management.”

Mr Coppin was much applauded at the conclusion of this effort, and Mr Brown, the architect, was also summoned by the audience to receive their compliments.

The comedy-drama, “Milky White” concluded the entertainments. It was received with great marks of favour, and it merited them. Mr Coppin never played the misanthropical cow keeper better. Mrs Crosbie made an excellent Mrs Sadrip, and Miss Maggie Stewart may be congratulated on the acquisition of some little sprightliness during her recent absence from the boards. Mr Munro and Mr Collier would seem to claim some notice, but beyond stating that they, Mr Stewart, Miss Douglass, and little Miss Nellie Stewart appeared in the course of the evening, the insignificance of the parts enacted by them renders criticism needless. For the same reason we refrain from commenting upon the acting of Miss Docy Stewart. She sustained the small part of Mrs Trotter Southdown with the ease of experience. Miss Stewart is a capable and painstaking actress, and we are glad to see her again upon the boards.

This evening Miss Rose Evans will appear in a drama called “quite alone,” dramatized, we understand, by herself, from “Jane Eyre”.

THIS theatre was opened on Monday evening;
The play was Othello. Previous to the commencement
of the piece the national anthem was
sung by the whole of the company, at the con-
clusion of which Mr Arabin, of the Sydney
theatre, stepped forward and delivered the fol
lowing opening address:—

Ladies and Gentlemen—This little box
To-night an adventurer unlocks;
Nor opes it vainly—for this light presents
A graceful exhibition of contents.
SOLOMON said, " Urge to our friends my plea"—
" I Urge !" said I-"bless you, they'll laugh at me;
Yet, if you wish it, be my efforts tried,
Your cause my spur—their service all my pride."
The bow of gratitude before you made—
Having this smiling generous range surveyed—
Care has been his this labor to complete,
Which makes magnificence and comfort meet—
Anxious that multitudes may sit at ease,
And scantier numbers in no desert freeze—
That ample space may mark the liberal plan,
But never strain the eyes or ears of man.
Look round and judge. His efforts are all waste
Unless you stamp them as a work of taste.
He pleads for favor, only if his due,
He pleads for justice, and he pleads to you [applause].
So much for visual sense.—What follows next
Is chiefly on the histrionic text—
And our adventurer has toiled to store
His list of favorites with some favorites more.
The universal cry is--- Something new;
And to obey this call we trust to-night
Some pleasing novelties may greet your right [applause].
New is the house—these boards too—this & certain— -
New are the dresses—new the scenes and curtain—
New also are our hopes, in this new cause,
That we may meet and merit your applause—
Rich the repast, and may we trust ensure
The custom of the scenic epicure.
"What our pretence ? What all the world pursues—
To please for praise—for profit to amuse.
I don't despair—your looks imply no danger,
And John Bull ever patronised the stranger [applause].
E'en I, although amongst the last and least,
May pass, perhaps, as garnish to the feast.
We hope to please, &ad as we're dull or clever
You patronise or damn the same as ever!
And tee, who long tost on dramatic seas,
The sport, alas! of many a shifting breeze.
Have still contrived our shattered bark to steer,
Now furl our sails and drop our anchor here,
Happy indeed if, all our labors past,
A friendly harbour we have found at last [applause].

The theatre was well filled in every part—the
dress circle particularly was crowded with the
'beauty and fashion' of Adelaide. Hie house is very
comfortably arranged and elegantly fitted up, the
decorations altogether reflecting great credit on
the abilities and taste of the artist—Mr Opie we
believe.
It would at present be premature to speak of
the general merits or demerits of the company, or
of any particular member of it, this being the
first opportunity we have had of seeing them
perform. Two or three of them only have we
seen before—the remainder are entire strangers.
Mr Lazar's Othello was upon the whole
good. At times his utterance was too rapid, and
consequently rather indistinct; and once or twice
he gave more scope to his voice than was necessary;
but taking the part as a whole, it was very
creditably gone throngh, and drew from the audience
repeated expressions of applause. Mr
Arabin, as logo, decidedly sustained his character
better than any one on the stage; lie indeed
played the plausible and Wily villain to the life.
Mr Allan, who played Roderigo, appeared to be
quite out of his line, and endeavoured to amuse
the audience at the expence of the tragedy. In
the afterpiece he seemed more in bis element
Mrs Cameron was well received by the audience,
and promises to take the lead among the female part
of the company. Mrs Arabin too, we.doubt not
is a very useful actress, and seems almost equally
at home in comedy and tragedy. We must not
omit to mention Miss Lazar's dancing, which no-
one present could help admiring. Of the other
performers we cannot' speak till we" bave fartber
opportunities of seeing them.
Mr Solomon-has certainly shown great public
spirit in erecting such a building as the Queen's
Theatre—a building which equals in every respect,
most of the English provincial and second-
rate London Theatres—and we trust he will not
be a loser by his speculation

The members of
the Masonic Craft patronised the Theatre on
Tuesday evening last, for the benefit of the
Infirmary; the whole of the proceeds over and
above the expences going to that institution,
which accordingly drew a very full house. The
pieces produced were Shakespere's Taming of the
Shrew, the Crown Prince, and The Turned
Head. We have not space to notice the per-
formers particularly, but the universal ap-
plause sufficiently testified the satisfaction of the
audience.

On Thursday evening
the second amateur performance took place to a
respectable audience. The dress circle was
crowded. The comedy or farce of the Heir at
Law, followed by the Merry Monarch, constituted
the entertainments of the evening. It would be
impossible to criticise minutely the acting of the
different gentlemen who have so good-humouredly
taken so much pains and gone to such expense to
amuse the public. But we may safely say, that
batling those unavoidable defects which only "stage
practice" can remove, their preformances were
creditable, and in many scenes effective. We
are glad to notice an improvement in the orchestral
department. A portion of the overture to Zamna,
in particular, was played with brilliancy and spirit.
It would be desirable, however, that some more
moderation should be observed in the accompani-
ments. Mr Charles Campbell's amusing song was
actually drowned by the noisy fiddling. The fol-
lowing Prologue, written by Mr Mann for the
occasion, was spoken by Mr Hamilton:—
In good Queen Ross's days, as legents tell,
England from every nation bore the bell.
Sage in her councils, foremost in the fight,
The haughty Spaniard quailed before her might
O'er the Pacific's wave of liquid gold.
Full on the breeze the red cross banner roll'd;
And where the storm tost billows fret, and foam
On Albion's cliffs, her navies found a home.
Council and battle past, in hall and bower}
Noble and peasant hailed the festive hour,}
And iron manhood bent to woman's power:}
Valour and beauty graced the gorgeous scene,
And lent a glory to the Tudor Queen.
'Twas tehn the drama rose—and Shakspere's name
Hallowed the age with an immortal's fame.
Each passion language found, and humorous thought,
And sparkling wit, their ready tribute brought
With sceptre'd pomp the tragic muse swept by.
And mirth and laughter crown'd our comedy.
That age has past—but still its works remain
To grace the triumphs of Victoria's reign.
Our ships and sailors still are hearts of oak—
Still the vexed ocean bears Britannia's yoke.
Still are our soldiers foremost in the war }
Witness Barrossa witness Trafalgar }
Our Nelson's glorious death, and Douro's ducal star. }
Has beauty lost its power? Nay, sceptic, gaze,
If gaze thou can'st, on yonder living blaze.
Be like the eagle, face that sunny ray
Or with the Persian, bend and own its sway.
No sceptics we dear woman's power we own, And willing captives bend before her throne;
Suppliants—but suppliants for a just applause
Suppliants for favor in the drama's cause.
That cause is yours—by him whose [?]
Pierced to the inmost depths of [woman?]
And in each character his pencil drew, }
Still kept to woman and to nature true. }
By Shakespere's honor'd manees, we call on you }
And to your triumphs, still one triumph more,
And rear the Drama on Australia's shore.

This Theatre opens on Monday evening with every prospect of suc-cess. The boxes, we understand, have been nearly all taken, and it seems determined to give
the spirited proprietor a fair opportunity of realizing his intention of making the Theatre and its entertainments such as the respectable classes of Adelaide may resort to with propriety.

This house was
re -opened last night by Messrs. Troy Knight and Gouge
for a week's performances with one of the most efficient
companies we have had the pleasure of seeing on the Adelaide
board for some time....

THE THEATRE.—This place of amusement,
"we are glad to see, still continues to draw
tolerable, houses, though frequently not so
good as we would wish to see. Mr Lazar
continues. as indefatigable as ever in catering
for the public entertainment. The pieces produced
are generally of a light and amusing
nature, which give more satisfaction than if
heavy dramas were introduced. We trust soon
to see better times, when Mr Lazar may expect
his visitors to become more numerous.

We have scarcely vain glory
sufficient to impress ourselves with the idea that
our remarks last week have occasioned a better
attendance at the Theatre than before; certain it
is, however, that the last three nigbts have presented
better filled houses tban for some previous.
We are glad to note the improvement, and shall
be pleased to see a still better attendance.

It is with great regret we observe that the Theatre
is about to close, inconsequence of the small
support which has met the energetic endeavours of
the management. The theatrical year of 1851
commenced under the most favourable auspices. A
new theatre, in dimensions equal to most of the
minor London establishments, and decorated at an
expense of two thousand pounds, was opened. An
entirely new wardrobe, complete in every particit
ar, and the scenic department under the manage
ment of the first landscape painter in the colonies
(Mr Opie) and a band headed by Messrs Moore
and Wallace, and comprising our chief instrumen
talists, offered such a prestige in favor of the Near
Royal Victoria Theatre, that it was universally pre*
dicted for once in the annals of theatrical specula
tion that it must pay. But the addition of the
great talents of Mr Coppin, who now joined the
management, known and appreciated as they were [...]
whether pioneers or new
comers appeared to render assurance doubly sure;
and the receipt of the first few nights certainly did
not lessen the likelihood of the realization of such
expeditions ...

The Chambers family continue
deservedly to attract full and fashionable audiences, the
vote nan skill and agility of the parent being all but eclipsed
by tho dramatic powers of his son and the winning grace
of his little daughter, who seems a veritable ' fairy from
Fairyland ;' both presenting in their finished performances
an epitome of the various excellencies of all
' Who in the dance sported merry toes,
Taglionis and Ellslers, Duvernays and Ceritns.'
Master Chambers advances other claims to popularity than
that of an accomplished dancer. In his' performance on
Saturday evening he exhibited comic powers of no mean
class ; indeed, our old stagers, with few exceptions, might
take lessons in pantomime from -either of these talented
cliildren. As the short engagement of ' the Chambers
family' will speedily terminate, we would remind those
who desire to witness a display of dancing immeasurably
superior to anything heretofore produced on our stage' that
they have no time to lose!

THE THEATRE.—The general dulness of the
town seems to have operated on our play going
folks during the present week, the Theatre not
being so well attended as usual; but we are
happy to see it has not dampen the ardour of the
manager—a succession of new pieces (or attrac-
tive ones) having been produced, and the
performers strive by every means to please. An
amusing drama under the title of the Crown Prince
was performed on Monday last, which was well
received. Mr Lazar's personification of the Watch-
man's son was admirable—his whimsical em-
barrassment on being taken for the Crown Prince
excited bursts of laughter; as did the exchange
of dress from the Prince to the Watchman. There
are some witty allusions in reference to the
ministry, which told remarkable well, and the
audience appeared to join in the [?] the
little piece displayed. The [?] [?] of
the Irish Trator followed, in which Mr J. Solomon
sustained the part of Terry O'Rourke with great

Mr. Morton King made his bow
last evening in the new theatre as Hamlet. The house was
crowded, and all who were attracted by a previous acquain
tance with Mr. King's ability as an actor, as well as those
who had for the first time an opportunity to compare his
performance with his reputation, had the satisfaction to find
his nowers unimpaired, and that he enjoyed no exaggerated
credit as a tragedian. The play was remarkably well got
up...

By our advertising columns of to-day we find Mr
Lazar, the enterprising manager of the Queen's
Theatre, takes his Benefit on Monday next.
Those who have watched the progress of the
season, will admit that no pains have been spared
on his part to secure for the proprietors good
houses, and, for the public, rational and amusing
entertainments. His exertions, both as actor and
manager, deserve the highest praise, and we trust
will be duly appreciated on his approaching benefit
; for our own part we have no doubt of seeing
the most crowded house of the season. Mr
Edwards (whose vocal talent is well-known and
justly admired) gives his valuable services on
the occasion ; also a gentleman amateur, of whom
report speaks in very high terms; and the Bill of
Fare throughout promises one of the most at-
tractive evenings of the season. We can only
repeat our wish to see a full house.

During the last week, the interior of the Theatre Royal has undergone such a thorough transformation that it was scarcely recognisable under its new aspect when opened for promenade concerts on Saturday evening. These entertainments are, we believe, the joint enterprise of Mr W. S. Lyster and of Messers, Spiers and Pond, and they have been got up with a liberality of expenditure, and are conducted in a spirit, which entitle them to the success achieved by the first of the series. The pit of the theatre has been boarded over on a level with the stage, and as the whole depth of the latter has been thrown open, an immense area is thus secured for promenading. An elevated orchestra has been constructed immediately beneath the proscenium, and is occupied by a band which includes most of the best instrumentalists in Victoria, under the conduct of Mr. A Rolff. The stage itself presents the appearance of an elegant pavilion, decorated with shrubs, and brilliantly illuminated, and the general effort is light and cheerful, and reflects great credit on Mr. Hennings, who has superintended its metamorphosis. Where the wings need to be on either side, four spacious alcoves have been erected, furnished with lounges and marble tables, the walls being ornamented with fluted drapery of various colours; the unsightly flies are concealed from sight by folds of particoloured cambric; and at the extremity of the stage the roof of the pavilion slopes down to what resembles a balcony, looking out upon a view of the Bay of Naples, from the expert pencil of Mr. Hennings. Along this balcony is ranged a refreshment bar, in the arrangement of which a good deal of taste has been displayed. We should also mention that the Vestibule has been redecorated and renovated, and constituted a sort of smoking saloon, as this practice is rigidly interdicted in the theatre; nor was there any attempt to resort to it on Saturday evening on the part of the promenaders, amongst whom the utmost decorum prevailed. Between 2000 and 3000 persons were present, notwithstanding the unfavourable condition of the weather; and the house presented a really brilliant aspect, whether viewed from the boxes or the promenade, recalling to recollection the appearance of Drury Lane when Jullien used to wield his baton, with so much affectation and effect, in an orchestra which has contributed two or three of its best soloists to that of the theatre royal.

It is unnecessary to say that as the principal vocalists presented themselves to take part in the concert they were greeted with acclamations, and that the appearance of each of them was a signal for the promenaders to gather in a compact mass round the centre of attraction. The programme was judiciously selected, for while the works of the best composers were not neglected in it, it comprehended some of those Jullienesque polkas and quadrilles which are so popular with a mixed audience; and the vocal pieces embraced familiar ballads, as well as selections from choice operas. Madam Lucy Ascott was in excellent voice, and sang the “Robert, toi que j’aime” splendidly; and great praise must also be awarded to Mr Henry Squires for his beautiful execution of “Come into the garden, Maud.” In the famous old ballad of “Sally in our Alley” he was vehemently encored, and a similar compliment was awarded to Mr Farqhuarson for his spirited delivery of the descriptive scenes of the “Ship on Fire.”

Among the instrumental selection given on Saturday evening, special mention must be made of a clever pot pourri, arranged by Mr. Reiff; and the “Carnival of Venice,” with variations for a number of instruments, arranged by Herr Siede, whose solos on the flute were as admirable as those on the flageolet and cornet a-piston by Mr. Kohler, who rivals his former colleague, Herr Koenig.

Altogether the performance was extraordinary, when we take into consideration that the price of admission to all parts of the house, except the dress circle, was only a shilling. A few years ago, people in Melbourne would have cheerfully paid half a guinea admission to an entertainment of a far inferior character, and it is not surprising, therefore, to find so large a concourse of persons flocking to the Theatre Royal on Saturday evening, in spite of the rain, and mud, and cold, to listen to what we must characterise as the cheapest and pleasantest popular concert ever given in this city.

Last week was closed the first season of the
performance of the legitimate drama in Van
Diemen's land. When the curtain dropped
Mr. Cameron came forward and addressed the
audience in the following terms:—
Ladies and Gentlemen,—
As the first season of the first theatre in
Van Diemen's Land has drawn to a close, it 
is with the deepest feelings of gratitude that I
present myself before you to return my most
sincere thanks for the warm support you have
been pleased to bestow upon our exertions, and
believe me those exertions will never cease till
I render the drama in this part of the world
still more worthy your approbation and sup-
port.
But I have farther to thank you for the pa-
tience and indulgence with which you have
overlooked the many deficiencies attendant up-
on a first attempt.
I have also to return the heartfelt thanks of
Mrs. Cameron and the members of the com-
pany generally for the cheering favor with
which you have invariably received their en-
deavour to please.
And now ladies and Gentlemen, till I have
the pleasure of meeting you in a more com-
modious edifice, which the spontaneous kind-
ness of the public is now preparing for me, I
respectfully bid you farewell.
On Monday the whole of Mr. Cameron's
company, with all the scenery, dresses, and
decorations proceeded across to Launceston.
The room engaged there is far more spacious
and convenient for the purpose than that at
the Freemason's Tavern, in which Mr. Ca-
meron has so successfully commenced dramatic
exhibitions in Van Diemen's Land. If carried
on in the orderly and prudent manner in which
it has hitherto been conducted, he cannot fail
to succeed and give much public satisfaction

From the first of next month an important change will be made in theatrical management, not only in Victoria but also in the other colonies, which must have a potent effect in determining whether or not the stage, as an influence on the community, is to be more of less powerful than it has been in the past. For many years Mr Coppin, associated with gentlemen whose names have been before the Victorian public for a long time, has been at the heed of theatrical affairs as far as Melbourne is concerned, and during that time the management of the Theatre Royal can fairly claim that not only has the pleasure of their patrons been studied, but that commendable efforts have been made to advance the interests of the drama. The limits of this notice would not suffice to enumerate a very small number of the artists who from time to time have graced the boards; but it is sufficient to say that we have had amongst us men who have acquired a reputation that is worldwide, a result due to the enterprise of those who have catered for the public amusement. Mr Coppin and his confreres have grown grey in management and having reached the age when rest is desirable have transferred the management to other and younger men. On the 1st of July next Messers Williamson, Garner and Musgrove become the lessees of the Theatre Royal, Melbourne and Sydney, The Princess’s Theatre, Melbourne, and the opera House; and we also understand that they are connected with Mrs Allison, the lessee of the principal theatre in Adelaide. Each of these gentlemen has had a lengthened experience of the requirements of the colonial stage. Mr Williamson is an actor who in his peculiar line occupied a foremost position on the stage. Mr Garner was a member of the finest comedy company that had ever visited Australia and has since had a very long experience as a manager in Sydney; while Mr Musgrove, a nephew of the late Mr W S Lyster, made a brilliant success of his first managerial venture when he brought out the Tambour Major company that recently created such a furore at the Opera House. This is a combination of business and dramatic talent that cannot be excelled in the Australian colonies, and must result not only to the satisfaction of the public, but to the pecuniary benefit of those immediately concerned. The new managers propose to produce in rapid succession the latest and best dramatic and musical pieces, with that attention to detail which distinguishes the best English and Continental theatre, and which goes so far to insure the success of a piece, Messers Hennings and Gordon, whose reputation as scene painters is as high, if not higher, than any other two men in the profession, have been specially retained for this important branch of the art, and from the fact that the management intend to keep their theatres always open it is certain that actors will not have the slightest difficulty in obtaining engagements. Mr S French, one of the leading dramatic agents in London, has received carte blanche to forward any new pieces that may be produced in the old world irrespective of cost, and each will be given in exactly the same manner as it is in London or Paris. Orders involving large sums of money have been sent home to augment the wardrobes and scenic accessories of the various theatres, and with the amount of capital that has been put into the concern, it is certain that success will be deserved and is sure to follow, as the Australian public readily appreciate every effort that is made for their amusement. The first performance under the new management will be Patience at the Theatre Royal. This comic opera is said to be the most successful of the many comic operas that Messers. Gilbert and Sullivan have written, and will be produced with an exceptionally strong cast, backed by all the assistance that scenic effect and stage mechanism of the highest order can give. The company will probably include misses Alice Ross, Beaumont, Verdi, Vernon and Ford, besides others of lesser face, assisted by a capable chorus, and an orchestra under Mr Van Ghele, which is sufficient guarantee for its excellence. Patience will be succeeded by La Mascotte, a French opera bouffe of something the same character as Madame Favart, and which has been a great success in London and Paris. La Mascotte will be followed by Billie Taylor, and this in its turn, will give way to a dramatic season, which will commence with The Lights of London, Mr Rignold and the company which recently played Youth being the dramatis personae. Other novelties will follow, and the dramatic season will continue up to Christmas, when some new comic operas will succeed. On the 9th July Miss Emilie Melville, who was a great and deserved favourite when she last appeared before a Melbourne audience, will open at the Opera House in La Perichole with a strong company, but for obvious reasons the names at present are not given. She will continue the season until the time when Messrs. Wallace and Dunning’s occupancy commences. These gentlemen are now in England, and according to recent advices are engaging a strong company, and securing some novelties with which to commence their season in November next. At the Prince’s the Grasshopper will be succeeded by a farcical comedy entitled Where’s the Cat, which has been a wonderful success at the Criterion Theatre, London, and on its withdrawal Miss Jennie Lee’s company will probably go to Sydney, and Miss Melville will appear at the Princess’s. The companies of the three theatres will visit Sydney at intervals, and the whole of the houses under the presented management will be improved and redecorated before any representation is given. Altogether a new order of things is promised, and if it is carried out, as we have no doubt it will be, not only the public, but the profession, will be the gainers.

WE some time ago predicted that the
state of public feeling in Adelaide was
not of such a nature as to afford a rea-
sonable prospect of support to a public
place of amusement of such an extent
as the Queen's Theatre, and we ven-
tured at the time to suggest to Mr.
Solomon, that, even as a money specu-
lation, his new erection was better
likely to pay if devoted to some general
public purposes. The trial of a single
season has convinced Mr. Solomon that
we were right, and, on Saturday last,
he dismissed the whole company, and
on Monday commenced taking up the
benches in the pit, with the view of
throwing open the whole premises to
the public. What definite plan Mr.
Solomon intends to adopt, we have not
yet heard ; but, as for Theatricals, this
is to be considered as another abortive
and unsuccessful attempt to establish
them in the colony.

Mr. Jacobs had a full benefit at the
Theatre on Tuesday night; and we learn that his
brother actors intend giving him another night on Fri-
day. Jacob is a good actor, has exerted himself a
great deal, and being embarrassed in his pecuniary
concerns, we shall be glad to hear that his second
benefit is a bumper.
Mr. Cameron, the Manager of theTheatre, pro-
ceeds, we hear, to Sydney, on a theatrical mission;
his duties during his absence being undertaken by
Mrs. Cameron, whose abilities in this department
we believe to be unquestionable; but who would feel
herself in a very trying situation, but that we are cer-
tain every assistance will be rendered her by the com-
pany during the absence of her husband. The patron-
age, indeed, which the Theatre has received at
Launceston is such as to command the undiminished
exertions of every actor possessed of proper feeling.
An active and efficient Stage Manager has been en-
gaged.

THE QUEEN'S THEATRE.—The attendance at
the Theatre during the present week will, we
presume, lead the proprietor to look forward with
some hope. The Jewess was repeated on Thurs-
day evening, and as before, admirably performed;
Tom Noddy's Secret was the farce, in which Mr
Lazar, as the eccentric schoolmaster, and Mr
Arabin, as his usher, kept the house in a constant
roar of laughter. We observe that the entertain-
ment, by request of the Masonic Fraternity, will
certainly take place on Tuesday next; and we
doubt not, that the bill of fare, together with such
respectable patronage, will draw the fullest house
of the season. Mr Solomon's liberality in pre-
senting the surplus over and above the actual
expences of the night to the Hospital, deserve the
highest praise; and we hope the public generally
will appreciate his good feeling, by giving him a
bumper in return on some other night.