The good common sense of the Common Councilman and Liverymen of the City,—Liverymen not to be led astray by any false lights,—coupled with their truly English love of fairplay, prevailed, and the City Fathers on Goose Day were prevented from following in the goose-steps of that Uncommon Councilman who, bearing the honoured names of BEAUFOY (a fine old Norman-Baron title!) and of MOORE (shade of Sir THOMAS!), made so extraordinary a display of bigotry and ignorance as, it is to be hoped, is rare, and becoming rarer every day, among our worthy JOHN GILPINS of credit and renown East of the Griffin.
But in spite of this nonsensical hot-gospelling rant, Alderman and Sheriff STUART KNILL was elected Lord Mayor, while BEAUFOY MOORE was, so to speak, no MOORE, and, in fact, very much against his will and wish, was reduced to NIL. WILLY-KNILLY he had to cave in. Mr. Punch congratulates the Lord Mayor Elect, but still more does he congratulate the City Fathers on rising above paltry sectarianism, so utterly unworthy of time, place, and persons, and for standing up, in true English fashion, for freedom of worship coupled with absolute Liberty of Conscience.
THE PRIDE OF THE EMPIRE.
At this moment there is really a very excellent extertainment at the Empire Theatre of Varieties, something, or rather many things of which the Management may, and should be proud. A capital troupe of Bicyclists, a Spanish Dancer and singer—whose gestures to the multitude are more intelligible than her language—a graceful, serpentine dancer, and "a very peculiar American Comedian"—all these are a part of the programme. But the best item in this liberal bill of fare is Round the Town, a characteristic Ballet, in five tableaux. The composers of this pleasing piece are Madame KATTI LANNER, and Mr. GEORGE EDWARDES. As the lady is well known for her admirable dances, it may be safely presumed that the gentleman is solely responsible for the plot, or rather "the argument." It runs as follows:—"Dr. Burch, newly arrived in London with his pupils, wishes to show them the sights. What better to begin with than Covent Garden Market in the early morning?" Quite so, the more especially as the lads must be very backward boys. There are six of them, and the youngest seems about thirty, and the oldest about double that age. The Doctor must have rescued them from Epsom Race Course, and apparently is attempting to give them an education fitting them to follow what seems to be his own calling—the profession of an undertaker. These elderly pupils follow their kind preceptor (for, although he is called Burch, there is not the slightest suggestion of the rod about him, and, moreover, his charges are really too elderly to receive chastisement) to the Royal Exchange, the Thames Embankment, and, lastly, to the Empire. During their travels, they meet Mr. Rapless, known as "the Oofless Swell," (a part amusingly played by Mr. W. WARDE), and John Brough, a carpenter with a taste for ballet costumes and drink, the carpenter's wife, and the carpenter's child. Dr. Burch, who is evidently easy-going, but good-hearted, after flirting with a lady who has her boots cleaned before the Royal Exchange, suddenly developes into a philanthropist, not to say a divine. On the carpenter's wife and child appearing on the Thames Embankment in the characters of would-be suicides, the worthy pedagogue convinces them (to quote the programme) "That they have no right to take away the lives which the Almighty has placed in their hands." Mother and child are quickly convinced, and the neat but drunken father (Signorina MALVINA CAVALAZZI) appearing on the scene, the good man informs him that his wife and child are dead, "driven to an untimely grave by his (the intemperate but natty artisan's) desertion and cruelty." The effect of this inaccurate statement is startling. To quote once more from the argument, "incontinently the now penitent ruffian falls fainting to the ground." But he is brought back to himself, his better self, by his child whispering "Father!" The situation is full of pathos, even when witnessed from the Stalls. Recovering his senses, the converted carpenter promptly borrows money from the good old Doctor, and when that estimable gentleman is about to enter the Empire Theatre of Varieties (accompanied by his school), a little later he has the "satisfaction of seeing his protégé Mortimer (the ex-ruffian), returning contentedly from his work." This is the simple but pathetic story that Mr. GEO. EDWARDES touchingly tells with the assistance of a full corps de ballet, five tableaux, and last, but certainly not least, the hints of Madame KATTI LANNER.
There are many remarkable persons in Round the Town. Notably an effeminate but substantial stock-broker, who looks like a stock-jobber's maiden-aunt in disguise. Another important personage is a representative of the Navy, whose figure suggests as an appropriate greeting, "Hip, hip, hip, hooray!" Both these characters are well-played, and although subordinate parts, make their mark, or rather, we should say, score heavily. Altogether; the ballet is excellent both in dances and plot. The first is a testimony of the good head of Madame KATTI LANNER, and the last of the equally good heart of Mr. GEORGE EDWARDES. There is no doubt that Round the Town will draw all London to see (in its realistic scenes) all London drawn!