REMARKS, The Somnambulist. OUR dramatic acquaintance, Mr. Moncrieff, again passes in review before us. As a caterer for the public taste, he is indefatigable in his researches for its gratification; and, by that easy transfer to which literary property is subject, the inhabitants of the good cities of Paris and London are made merry or sad on the same night from the same cause. Certain diurnal critics have sneeringly remarked that the French have little to spare in the way of wit and invention. Does it then become our magnanimous wisdoms to take from them that little, and subsist upon it ourselves? Like captious valetudinarians, who never make a hearty meal without grumbling, we borrow liberally, and as liberally abuse. Like Ancient Pistol, we swallow the leek, and bravely content ourselves with swearing all the while. The Somnambulist is not a translation of the vaudeville, "La Villageoise Somnambule, ou les Deux Fiancées ;" but, like that piece, is taken from the ballet "La Somnambule," by M. M. Scribe et Aumer, which, in its turn, is founded on a vaudeville of the same name, by Scribe and Delavigne; from this latter Mr. Beazley produced, some years since, a pleasing entertainment, entitled "Love's Dream." In the farce of "The Sleepwalker," somnambulism has been turned to very merry account; in the present piece, it produces fearful surprise and trembling anxiety. Had not circumstances passed within our own knowledge of an equally wonderful, though less romantic character, we should stamp "incredulus odi," upon the adventures of the sleeping Ernestine; but, like many theories, questioned at first, yet subsequently confirmed by experience, somnambulism proves what little advancement philosophy has made in unravelling the mystery of the mind, " and shows that human knowledge may find its limit, though human presumption never can. The story of this piece is simple and touching. It enlists our sympathies on the side of virtue, and illustrates a principle that cannot be too strongly enforced-that innocence, amidst its severest trials, is sure to meet with the protection of heaven. The comic portion is pleasantly written: the uxorious Colin de Trop, with his matrimonial influenza, and the jealous, coquetting, virtuous, Madame Gertrude, down to Master Oliver, the Trumpeter, who salutes the ill-paired couple with a discordant flourish, are naturally drawn. The mechanical, or melo-dramatic part, is singularly affecting. The scene between Ernestine and Rosambert, where every vicious thought is extinguished in the breast of the latter, and the concluding one, where the mystery is cleared up, swell the heart with emotion; indeed, the latter awakens a suspense and dread almost amounting to agony. We question if dumb show ever excited more intense feelings than those which thrill the audience when Ernestine passes over the water-wheel. Somnambulism is a favourite subject with the Frenchits wonders have given rise to several pieces-"La Petite Somnambule," ," "Heloise, ou la Nouvelle Somnambule,' "La Somnambule Marièe," &c. &c.; none of which are more deservedly popular than the present English version. We dislike catch-words-they do not add to the humour of a part; and their frequent repetition always tires, and often disgusts.—This remark applies equally to Ollapod's, "Thank you, good sir, I owe you one !" and to Colin's, "But it won't bear thinking of."—Mr. Keeley plays Colin very whimsically: we never saw a little man more in a way to be put out of his misery by the matrimonial noose. All praise centres in Miss Kelly's performance of Ernestine: the fixed attention, the deep anxiety, the tears, that accompanied it, are the best evidences of her absolute power over the imagination, in characters of this_description. Costume. ROSAMBERT.-First dress: Brown frock-lightblue pantaloons-boots-travelling-cap, with tasselcloak. Second dress: Red Hussar dress, richly trimmed with gold-high military cap, with gold cords and tassels-sword. EDMUND.-Light green coat-drab breeches and gaiters-buff waistcoat-black hat. COLIN DE TROP.-Light buff or yellow coat and breeches-flowered waistcoat-striped stockings-shoes -round straw hat. OLIVER.-First dress: Grey livery short coat-buff breeches-top boots-hat and cockade. Second dress : Red military dress~(As Trumpeter.) BAILLIE. Black suit-square-toed shoes and buckles-large cloak or gown of black-large powdered wig. ERNESTINE.-First dress: White dress, trimmed with pink and green-white straw hat, trimmed with green. Second dress: Plain white muslin short-sleeved dress. DAME MICHAUD.-Brown stuff body-light striped stuff petticoat-handkerchief-large French cap, &c. MADAME GERTRUDE.-First dress: Amber skirt, with black velvet tucks and tail-black velvet hat, with blue trimmings-black velvet body-white stockingsblack shoes. Second dress: White skirt, with blue trimmings-handsome French cap.* MARCELLINE.-First dress: Blue stuff body-grey skirt-blue stockings-high French cap. Second dress: White and scarlet holyday dress-cap-white stockings, &c. VILLAGE LASSES.-Peasants' dresses. Cast of the Characters, as performed at the Theatre Royal, Covent Garden, February 19, 1828. M. de Rosambert (Colonel of Musketeers, Edmund Beauchamp (a rich young Farmer, Colin de Trop (a wealthy Shepherd of the Ernestine Dormeuil (an Orphan, adopted Dame Michaud (Widow of the Village Madame Gertrude (a young Widow, Mis- Ladies, Villagers, Servants, Guests, &c. &c. STAGE DIRECTIONS. The Conductors of this Work print no Plays but those which they have seen acted. The Stage Directions are given from their own personal observations, during the most recent performances. EXITS and ENTRANCES. R. means Right; L. Left; D. F. Door in Flat; R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door. RELATIVE POSITIONS. R. means Right; L. Left; C. Centre; R. C. Right of Centre; L. C. Left of Centre. R. RC. C. LC. L. The Reader is supposed to be on the Stage, facing the Audience. |