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Hot air stoves were necessarily placed in the “Summer Theatres” when they were opened for the winter.

From “The Magic Flute,” an English translation of the opera “Die Zauberflote,” written and produced by me at the Theatre Royal, Drury Lane, 10th March, 1838.

I ventured in my preface to the English book of songs in this opera to vindicate the German author of the original libretto from the aspersions too hastily cast upon him by those who have only acquired their knowledge of the story from the wretched stuff professing to be a translation of the Italian version, sold in our opera houses, and have repeated my arguments in my “Recollections,” Vol. I., p. 276.

The opera of “Amilie, or The Love Test,” the music composed by M. W. Rooke, successfully produced at Theatre Royal, Covent Garden, 2nd December, 1837.

A grand spectacular drama by Serle, produced at Theatre Royal, Covent Garden, 28th November, 1837.

An opera on the same subject composed by Balfe, produced at Theatre Royal, Drury Lane, 30th of Nov., 1837. It was more distinguished for orchestral power than vocal melody, and had a brief existence. Balfe played King Theodore, and Miss Romer Joan of Arc.

From the late Lord Lytton's well known play, first performed 15th February, 1838.

Sir Thomas Noon Talfourd, the author of the tragedy of “Ion,” was a personal friend of the then Sir Edward Bulwer Lytton, as well as of Macready, the original Claude Melnotte of the play.

An acrobat, named Harvey Leach, alias Signor Hervio Nano, who was styled “The Gnome Fly,” and amongst other sensational performances walked on the ceiling of the theatre. His services were eagerly contended for, and first secured by the Adelphi, from whence he migrated to the Surrey.

[He was also known as the “What is it,” and the “Wild Man of the Prairies,” until he was recognised by a friend as Harvey Leach, or Leech, the pot-boy, whose signature to a document I have as Leech though he was generally known as Leach. He died 16th May, 1847, and bequeathed his body to Liston, the surgeon, for the benefit of medical science.—T.F.D.C.]

From Lover's melodrama of “Rory O'More,” first performed at the Adelphi, 29th November, 1837.

It scarcely needs a note to remind the reader that the popular play of the “Love Chase” was written by Sheridan Knowles. It was first performed at the Haymarket.

It seems almost incredible that such a contemptible performance could attain the popularity achieved for it by the American introducer, T. D. Rice; but de gustibus, &c. The tune was catching, and had something, perhaps, to do with it.

Elliston became lessee of the Surrey Theatre after his failure at Drury Lane.

The success of Mr. Thomas Dibdin's adaptation of Sir Walter Scott's novel, “The Heart of Mid Lothian,” was so great that the line of carriages occasionally extended from Fleet Street, over the bridge, and the whole length of the Blackfriars Road to the doors of the theatre.

Auber's charming opera “Le Domino Noir” was rapidly transferred to the English stage and rival versions of it produced at Covent Garden, the Olympic, the St. James's, and the Adelphi, but very ineffectively. I had been despatched to Paris by Bunn to hear and report upon it. I was enchanted by Mdlle. Cinti Damoureau, but felt it would do nothing at Drury Lane given in the way it must have been there, and presenting none of those opportunities for elaborate spectacle which distinguished those Bunn delighted to transport from the Grand Opera in the Rue Lepelletier. I wrote to him my views on the subject, in which he perfectly coincided. In the meanwhile, with their usual short-sighted policy, every exertion was made by rival managers to anticipate each other, not one of them having a company capable of doing justice to the music, and the consequences were what might have been expected. Cut down to a vaudeville, the greater portion of the music omitted, and with Madame Vestris in the title rôle, it was an agreeable trifle, but not “Le Domino Noir.”

Her Majesty Queen Victoria, in those happier days of her life, was a constant visitor to the theatres, and at this period attended nearly all the farewell performances of Charles Kemble at Covent Garden, who retired from the stage, 23rd December, 1836, on his appointment to the office of “Examiner of Plays,” on the decease of Mr. George Colman. Mr. Kemble afterwards played some of his principal characters by the express desire of Her Majesty, during the first season of Madame Vestris' occupancy of the same theatre.

See note on “Le Domino Noir.”

I have already commented upon the absurd regulations respecting the performances at the minor theatres. The Adelphi and the Olympic had the Lord Chamberlain's licence for the performance of burlettas, only, by which description, after much controversy both in and out of Court, we were desired to understand dramas containing not less than five pieces of vocal music in each act, and which were also, with one or two exceptions, not to be found in the repertoire of the patent houses. But for this latter restriction not only any opera might have been played under the name of burletta, but “Macbeth,” or “The School for Scandal,” with the introduction of the prescribed number of vocal pieces.

An adaptation of “Pickwick,” by Moncrieff, was produced at the Strand Theatre, in which W. J. Hammond played Sam Weller.

An English version of Scribe and Auber's opera “L'Ambassadrice” had been recently produced with some success at the St. James's Theatre.

A new theatre had just been built in Norton Folgate for the pretty and popular Mrs. Honey, who had produced a piece there on the inexhaustible subject of Don Juan, sustaining, of course, the character of the notorious libertine.

“Sadler's Wells” and the “Pavilion” are well-known existing establishments. The “Garrick” was so called because in the second theatre on that site, which was opened by Henry Giffard, in 1732, David Garrick made his first appearance in London, Richard III., 18th of October, 1741. That theatre was pulled down in 1746, and another built on the same spot was burnt down in 1802. It may not be generally known that the late celebrated tenor, Mr. Braham, came out as a boy at the third Garrick Theatre in 1787, and was announced in the bill as Master Abrahams. The “Queen's” was the name in 1838 for the “Tottenham Street” or “West London,” now the Prince of Wales's Theatre. The “Royal Kent” was opened on Easter Monday, 1834, in High Street, Kensington. It lingered on under various managements for about six years. The Royal entrance was down a court leading out of the main thoroughfare. The “Portman” is now the “Marylebone Theatre.”

One of Charles Dance's best dramas, produced with great success in the earlier part of the season.

The curtain at the Olympic opened in the centre and did not rise and descend as in other theatres.

Mr. Stephen Price, by whom Madame Vestris and Charles Mathews had been engaged for the United States.

George Frederick Cooke, the celebrated tragedian, died in Boston, U.S. Miss Fanny Kemble married Mr. Butler, an American gentleman of considerable property, from whom she has separated. Tyrone Power, the popular Irish comedian, migrated to the States, and was unhappily lost in the “President” on his return voyage. Mr. and Mrs. Wood (Miss Paton, and subsequently Lady William Lennox) and Miss Ellen Tree, afterwards Mrs. Charles Kean, were also at that time in America.

Forrest was a celebrated American tragedian. He paid a visit to England, and played a round of characters here with moderate success. He married Miss Sinclair, daughter of the well-known vocalist of that name.

One of the Olympic pieces by Charles Dance, produced 29th September, 1837.

Another by Haynes Bayly, in which Charles Mathews was very effective. First produced 11th January, 1836.

By Buckstone, produced at the Olympic, 15th January, 1838.

By John Oxenford, produced at the Olympic, 12th March, 1838.

By Charles Dance, produced at the Olympic, 18th December, 1837.