Villa. And pray, Seignor, if I'm not too bold, may I ask what business brought you to Vienna ? Fran. To sell some of the best horses that ever were taken to that market; aye, the very best. Villa. [Aside, and catching his son's eye.] Indeed! Act 1.-Scene 1. OR, THE LONE HUT OF THE SWAMP. A MELODRAMA, Ex Two Acts. BY WILLIAM ROGERS, COMEDIAN, Author of "A Soldier and a Sailor, a Tinker and a Tailor," &c. &c. As performed at the CITY OF LONDON THEATRE. To which are added, ORIGINAL REMARKS-SKETCHES-MEMOIRS-COSTUME CHARACTERS - EXITS -ENTRANCES - AND GENERAL DIRECTIONS. EMBELLISHED WITH AN ENGRAVING, From a Drawing taken in the Theatre during representation LONDON: JAMES PATTIE, 4, BRYDGES STREET, COVENT GARDEN. As performed at the Royal City of London Theatre. Villafana (The treacherous Host) Mr. Shepperd. Mr. Harris. Gaspar (Dissipated Companions of Juan's) Mr. Williams VILLAFANA-Brown Tabbed Jacket-Trunks-Red Stockings-Russett Boots. CARABO Similar Dress FRANCISCO-Fawn Colored Jacket-Trunks-Blue Stockings-Dark Coat. PIERRE-Tabbed Jacket-Trunks. BURGOMASTER-Black Velvet Suit, richly trimmed STAGE DIRECTIONS. The Editor of this Work prints no Plays but those which he has seen acted. The Stage Directions are from personal observations during the performance. R. means (Right.) L. (Left.) C. (Centre.) R. C. (Right of Centre.) L. C. (Left of Centre.) D. F. (Door in the Flat or Scene running across the back of the Stage.) C. D. F. (Centre Door in Flat.) R. D. F. (Right Door in Flat.) L. D. F. (Left Door in Flat.) R. D. (Right Door.) L. D. (Left Door) S. E. (Second Entrance) U. E. (Up per Entrance.) C. .D. (Centre Door.) REMARKS. The Bandit Host. The City of London Theatre is becoming quite the mart for melodramas, and we do not wonder at it. In this kind of entertainment, how few of the minor theatres can now do justice to their station. Davidge stands alone, without fellow and without aid, like a general without officers. Yates's merits, such as they are, are indifferently supported ; and after him, we have no melodramatic manager, who can give effect to the most common cast of spectacle. Ducrow is a master key in his way, but even the "Mounseer," with all his high qualifications for dumb show, has physical and other defects, that will always prevent him from rising to the height of his ambition as an actor. To Osbaldiston, therefore, must be awarded the palm of melodramatic victory. Whilst the laurels he gained by Jonathan Bradford are yet unfaded, and whilst green in our memories, we are favored with The Bandit Host, a short drama of startling effect. In this piece, it was our good fortune to notice the debut of Mr. Shepherd and Mr. Ranson, in their respective characters of the Treacherous Host, and the Horse Dealer; and it is no mean compliment to the talent of both these gentlemen, to say, that to their exertions the piece owed its success. Mr. Rogers following in the wake of Mr. Buckstone, sketched a part for himself—Pierre, a drunkard—and although we are willing to allow a dramatic author the greatest latitude and most extravagant flights, we must say that we think it too highly coloured. The acting of Rogers was, however, unexceptionable. He is a very clever low comedian. The rest of the characters were well supported. We would advise Rogers to stick to melodramatic, and avoid farce writing. Under Osbaldiston, he will have " а clear stage,' "" and it will doubtless be his own and not the public's fault, if he experiences "no favor." Peake, having exhausted the quaint conceits and lively nonsense that rendered his farces amusing, though not resnectable, now has recourse to the assistance of the stage |