applause in Little Pickle-applause certainly due to her precocious talents. We are not fond of being astonished by theatrical exhibitions of infantine genius; maturity is quite sufficient for us. We have had enough of Miss Mudie and by far too much of Master Betty, to sigh for Hamlet and Miss Peggy in leading strings. But the merit of Miss Clara Fisher is so singular-her performance is distinguished by so rare a combination of skill, humour, and good sense, that the applause she receives belongs less to the youth than to the merits of the actress.

Old Pickle, who, as Mr. Tagg observes, is a Goth, a mere Vandyke-was admirably hit off by Dicky Suett.— He cut up the roast parrot with high glee, and helped himself and Miss Pickle in a way, that shewed he was no novice in such matters. Who ever carved any thing so comically as Dicky Suett? or masticated it with greater goût? witness the ham and sallad, in the "Siege of Belgrade;" and the boiled lamb, in "No Song no Supper."-We have seen the late Mr. Simmons play Old Pickle in a very diverting manner; it was, however, a character not exactly in his line.

We have been amused with Messrs. Mathews, Elliston, Wrench, Liston, Tayleure, and John Reeve, in the character of Tagg; and certainly, bating a few of Mr. Liston's indescribable looks, which carry every thing before them, the palm belongs to Mr. Mathews. Nothing could exceed his burlesque singing-his pompous recitation-his portentous stare-his tragic stride-his single ruffle-the exhibition of which, to the enamoured Miss Pickle, he managed so dexterously. His figure, when made up for the character, Hogarth might have studied with advantage. The veriest scarecrow in Falstaff's ragged regiment, was a General in full dress to him; he seemed to have no conception of a shirt, -and a coat, or any thing bearing affinity to one, would (to use Dicky Suett's expression) have pinched him like a watch-box! When he offers to teach Miss Pickle what it is to love, and implores her to give him death in a bumper

"The force of humour could no further go."

Mr. Elliston's Tagg, is Rover in tatters.-If he could have taken the breadth from his figure, and given it to his acting, he would have been more in character. The only droll thing about Mr. Wrench, was his cocked hat. Mr. Tayleure's performance wanted the vis comica :—he was a

most gigantic Tagg, with all the "thews and sinews" of a Life-Guardsman. With Mr. Tayleure, Tagg was a Waterloo man, from rag fair. Mr. John Reeve would do very well, were he more of himself, and less of every body else.

The "Spoiled Child" was first produced on the benefit night of Mrs. Jordan, on the 22nd March, 1790, at Drury Lane. It has been attributed to that lamented Lady-to Mr. Ford-to Isaac Bickerstaff, and to several other anthors. From certain hints in the Prologue, from internal evidence, and other circumstances, we should ascribe it to Mrs. Jordan.

D-G.

STAGE DIRECTIONS.

The Conductors of this Work print no Plays but those which they have seen acted. The Stage Directions are given from their own personal observations, during the most recent performances.

The instant a Character appears upon the Stage, the point of En trance, as well as every subsequent change of Position, till its Exit, is noted, with a fidelity which may in all cases be relied on; the object being, to establish this Work as a Standard Guide to the Stage business, as now conducted on the London boards.

EXITS and ENTRANCES.

R. means Right; L. Left; R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door.

RELATIVE POSITIONS.

R. means Right; L. Left; C. Centre; R. C. Right of Centre; L. C. Left of Centre.

The Reader is supposed to be on the Stage facing the Audience.

R.

RC.

C.

LC.

L.

LITTLE PICKLE.-Nankeeen trowsers, white waistcoat, little smart green jacket, frilled shirt-collar laying open over shoulders, white stockings and pumps.-2nd dress: white trowsers and waistcoat, little blue sailor's jacket bound with white, and white buttons.

OLD PICKLE.-Brown old man's coat and breeches, white silk stockings, shoes and buckles, flowered satin waistcoat.

TAGG.-Coloured striped coat, black satin breeches, flowered waistcoat, roquelaure, or cloak, over all, three-cornered hat. Dark striped stockings, shoes and buckles.

JOHN.

THOMAS.

Good livery-coat, waistcoat and breeches, white stockings, &c.

MISS PICKLE.-An extravagantly fashioned satin dress, ancient head dress, &c.

MARIA.-Neat white muslin dress, coloured sash, &c.

MARGERY.-Flowered cotton gown, white handkerchief, apron,

black bonnet, &c.

SUSAN.-Light-coloured cotton gown, &c.

Cast of the Characters as performed at the Theatres Royal,

London.

Drury Lane, Drury Lane, Cov. Garden, Haymarket, English Opera,

1790.

1804.

1820. Oct. 4, 1826. Oct. 3, 1826.

Little PickleMrs. Jordan. Miss De CampMiss Booth. Mast. Saunders Miss C. Fisher.
Old Pickle..Mr. Suett. Mr. Suett.
Tagg......Mr. R Palmer Mr. Palmer.
John ....Mr. Burton. Mr. Purser.
Thomas....Mr. Lyons. Mr. Evans.

Mr. Simmons. Mr. Williams.Mr W Bennett.
Mr. Liston.
Mr. King.

Mr. J. Reeve. Mr. Tayleure.

Mr. Holland. Mr. Salter.

Mr. Louis.

Mr. C. Jones. Mr. Lodge.

Miss Pickle.Mrs. Hopkins.Mrs. Sparks. Mrs Davenport Mrs. C. Jones.Mrs. Tayleure. Maria......Miss Heard. Mrs. Sharp. Miss Carew. Miss Wood. Miss Southwell Margery...Mrs. Booth. Mrs Maddocks Mrs Whitmore Mrs. Kendall. Mrs. Jerrold. Susan......Mrs. EdwardsMiss Tidswell.Mrs. Sexton. Mrs. Coveney. Mrs. Bryan.

PROLOGUE.

SPOKEN BY MRS. JORDAN.

Enters opening a Letter.

"Dear Madam-Disappointed by a friend-
"Promis'd a Prologue-at my poor wit's end-
"Ruin'd-unless so good-your laughing way—
"T" insinuate something for my luckless Play."
Poor devil! what a fright he's in—but why
Am I to help him-What can I supply?
I'm doom'd to speak but just what authors say:

Dull, when they're dull-and sportive, when they're gay;
Mere puppets here, obedient to their will,

We love or hate-are blest or wretched-kill'd or kill-
Mirth we put on, just as we put on graces—

And wit-that's sent home ready with our dresses.
What, tho' at night so very smart and charming-
The dullest mortals breathing, in the morning-
Hence the nice fop, 'ere he our merit stamps,
Of rouge all doubtful-and these treach'rous lamps,
Midst the loud praise, still asks with cautious leer,
How is she off the stage?-what is she near?-

But to my task-to own it tho' you're loth,
You're all spoilt children of a larger growth,
Longing for each poor tinsel'd toy you see,
And only constant to variety-

Whilst each, the censor of his own defects,
The darling fault with gentlest hand corrects;
E'en from his very failings draws a merit,
And deems each error but a proof of spirit;
Look round the world-

When we say world-we mean not, now-ad-ays,
A huge globe, form'd of mountains-rivers-seas―
The polish'd mind sinks from a scene so wide,
We mean from Hyde Park Corner to Cheapside-
Look through the world-you'll find my moral true
In all the varied shapes that rise to view.

But from spoilt children of six feet in height,
To the spoilt child our stage presents to night,

B

Brimful of mirth he comes-Miss Tomboy's brother,
We hope you'll think they're something like each other.
To plead his cause she'll try a sister's skill.

I'd fain prevent her-but, "ecod you will.”-
P'rhaps she may shock you, of precise prim air;
But Lord! what then, she never minds that there.
The country girl a kindred tie may claim,

She too is anxious for his future fame;

And if you'll spare him, swears, whene’er she's able,
She'll tread on all your toes-under the table.
Oft' have you deign'd their artless toils to cheer,
And crown'd with flatt'ring smiles their labours, here.
View then the brother's faults, with judgment mild,
And spare the rod altho' you spoil the child.