THE CACHET OF CASH AT DRURY LANE.
A Million of Money, "a new military, sporting, and spectacular Drama," is a marvel of stage management. No better things than the tableaux of the Derby Day, the grounds of the Welcome Club, and the departure of the Guards from Wellington Barracks for foreign parts have been seen for many a long year. In such a piece the dialogue is a matter of secondary consideration, and even the story is of no great importance. That the plot should remind one of Drury Lane successes in the past is not surprising, considering that one of the authors (who modestly places his name second on the programme, when everyone feels that it should come first) has been invariably associated with those triumphs of scenic art. AUGUSTUS DRURIOLANUS has beaten his own record, and the Million of Money so lavishly displayed behind the scenes, is likely to be rivaled by the takings in front of the Curtain—or to be more exact, at the Box-office. The Authors, in more senses than one, have carried money into the house. But they have done more—they have inculcated a healthy moral. While Mr. HENRY ARTHUR JONES is teaching audiences a lessen in Judah, that would have received the enthusiastic approval of the philanthropic Earl of SHAFTESBURY, after whom Shaftesbury Theatre is, no doubt, called, the great HARRIS and the lesser PETTIT are showing us in the character of the Rev. Gabriel Maythorne, a Parson that would as certainly have secured the like hearty good-will at the same shadowy hands. The Rev. Gentleman is a clergyman that extorts the admiration of everyone whose good opinion is worth securing. He apparently is a "coach," and (seemingly) allows his pupils so much latitude that one of them, Harry Dunstable (Mr. WARNER), is able to run up to town with his (the Reverend's) daughter secretly, marry her, and stay in London for an indefinite period. And he (the Parson) has no absurd prejudices—no narrow-mindedness. He goes to the Derby, where he appears to be extremely popular at luncheon-time amongst the fair ladies who patronise the tops of the drags, and later on becomes quite at home at an illuminated fête at the Exhibition, amidst the moonlight, and a thousand additional lamps. It is felt that the Derby is run with this good man's blessing; and everyone is glad, for, without it, in spite of the horses, jockeys, carriages, acrobats, gipsies, niggers, grooms, stable-helps, and pleasure-seekers, the tableau would be æsthetically incomplete. And the daughter of the Reverend is quite as interesting as her large-hearted sire. She, too, has no prejudices (as instance, the little matrimonial trip to London); and when she has to part with her husband, on his departure (presumably en route to the Bermudas), she requires the vigorous assistance' of a large detachment of Her Majesty's Guards to support her in her bereavement. Of the actors, Mr. CHARLES GLENNEY, as a broken-down gentleman, is certainly the hero of the three hours and a half. In Act III., on the night of the first performance, he brought down the house, and received two calls before the footlights after the Curtain had descended. He has many worthy colleagues, for instance, Mr. HARRY NICHOLLS, Miss MILLWARD, Mr. CHARLES WARNER, and Miss FANNY BROUGH, are all that could be desired in their respective lines. But, well cast as it undoubtedly is, the play has vitality within it that does not depend for existence upon the efforts of the company. It is good all round—scenery, dresses, properties, and effects—and will keep its place at Drury Lane until dislodged by the Pantomime at Christmas.
CHANGE OF NAME À LA SUISSE.—Tessin and its quarrelsome inhabitants to be known in future as a Can't-get-on instead of a Canton.