EVENINGS FROM HOME.
At the Court Theatre, Le Feu Toupinel, adapted for the English stage as The Late Lamented, is decidedly funny, that is, if you can once get over the idea that all its humour depends upon the immoral vagaries of an elderly scoundrel, an habitual criminal, who has departed this life in the odour of respectability, without his immoralities ever having been discovered. Had he been found out during his lifetime, he would have been tried for bigamy, convicted, and punished accordingly. This piece has been adapted from the French for the English stage; but, query, is it adapted to an English audience? That's the point. The run must decide. If the best possible acting can carry it along, then that it has got; for, though Mrs. JOHN WOOD has frequently had better chances, yet she has never worked harder, and never has she more deserved the laughter she excites. The same may be said of Mr. STANDING and Miss FILLIPPI, and also of Mr. ARTHUR CECIL, whose make-up is perfect, especially the dressing and colouring of his hair, which is an artistic triumph. Mr. GILBERT FARQUHAR's Mr. Fawcett, the Solicitor, contributes much to the fun of the scenes in which he appears with Mrs. JOHN WOOD; and Mr. CAPE, as Parker, the Confidential Servant, is excellent. There's plenty of "go" in it, but will it "stay"?
Great attraction at the Lyceum! The Corsican Brothers and Nance Oldfield! ELLEN TERRY as Nance is delightful. Chorus, Gentlemen, if you please, "For—all our fancy, Dwells upon Nancy!" Our ELLEN is charming in this, so natural and so theatrical: herself as Nance, and then as Mrs. Oldfield, the actress, in the characters that Nance assumes. For 'tis ELLEN playing Nancy, and Nancy again playing Tragedy and Comedy. It is an old piece revived: there never was so old a piece, for there are only four characters in it, and they're all Old. There are two Oldfields and two Oldworthys. Mr. WENMAN as Oldfield Senior, or the Old Obadiah, is a trifle too blusterous, but on the other hand, I am not prepared to say that a country attorney of that period wouldn't be uncouth and blusterous. His son Alexander, the Young Obadiah, is prettily played by Mr. GORDON CRAIG, who is a trifle too windmilly with his hands and arms; but in the whole play nothing becomes him so well as the pathos of his broken-hearted exit. He was touching and going. Henceforth, this young actor may justly describe himself as of the "Touch-and-go" school, and be, like "the livin' skeleton" mentioned by Sam Weller, "proud o' the title." Miss KATE PHILLIPS as Anne's sister—though, as Mr. J.L. T-LE observed, as she is younger than Anne, she cannot well be her Anne-sister—is as bright and lively as need be, considering her menial position, which is rather odd in her sister's house. Visit Mistress NANCE TERRY; you'll find her very much "at home" in the part. After which The Corsican Brothers revived, Ghost and all.
When some years ago the Irvingesque version of it was produced, the twin who lived in Corsica, Brother Fabien, used to behave in the wildest Corsican way. Who that saw it some years ago does not remember how he used to chuck his gun up in the air, when it caught on to a hook in the wall! with what gusto he used to light a tiny cigarette from an enormous flaming brand snatched from the burning wood fire on the hearth! and how badly the starving guest from Paris fared in the Corsican household where he hadn't a chance against the appetite of Master Fabien, who, after a hard day's sport, came in ready for anything, and ate everything! It was the only occasion when this fearless son of destiny ever "bolted." But, my! how the food used to disappear! what a short time the supper occupied, and how very much third best the poor stranger came off under the hospitable roof of the Dei Franchis. Even now the supper is a brief one, but justice is done to it, and to the weary traveller. Never was such an unhappy tourist! He comes to a house in the wilds of Corsica; he is choke-full of Parisian gossip, he has a lot to say of course, but he never gets a chance, as Fabien tells him family stories one after the other, as if he hadn't had such an opportunity or so good a listener for ever so long. Then, when on the entrance of his mother Fabien breaks off in the middle of one of his many anecdotes, which evidently can't be told before ladies, the Parisian gent, who now sees something like an opening for some light Boulevardian chit-chat, is presented with a flat candlestick and bowed off to bed, without being allowed a word to say for himself. All this is just the same as ever; there have been no alterations nor repairs; the piece is as curiously old-fashioned as are the exquisitely correct costumes; while the Masked Ball at the Opera and the Duel in the snow are as effective as ever, and the latter, if anything, more so. They make a first-rate fight of it, do Messrs. Irving dei Franchi and M. Terriss de Château Renaud, until the latter collapses, and "subsequent proceedings interested him no more." As long as the strong right arm of the Corsican Brother can draw a good and shining rapier, he will draw as good and brilliant a house as he did on the first night of this revival. Why ought this piece to go well in the first theatre in Ireland? Why? because it's a great play for Doublin'. Exeunt omnes.
THE EPIDEMIC.—Up to now Members of Parliament have been generally considered as "influential personages." This year many M.P.'s will be remembered as "very influenzial personages."
THE MOST IRRESISTIBLE SIRENS ARE NOT THOSE WHO SING, BUT THOSE WHO LISTEN (OR PRETEND TO)!
Daughter of the House. "TELL ME, PROFESSOR BORAX, HOW DID YOU LIKE THE LADY MAMMA GAVE YOU TO TAKE IN TO DINNER?"
The Professor (innocently). "MY DEAR GIRL, SHE'S SIMPLY THE MOST CHARMING WOMAN I EVER MET! I NEVER TALKED SO MUCH IN MY LIFE!"