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EDITORIAL INTRODUCTION.

This drama is a transplantation from the Parisian stage, it being the joint product of Messrs. Dumanois and Dennery. It was originally produced at the Porte St. Martin, where Frederic Lemaitre, the celebrated personator of chevaliers d'industrie, created a sensation in the character of Don Cæsar. The caterers for the London Theatres soon seized upon it; and the present English version was the first produced. It is from the pen of G. A A' Beckett and Mark Lemon, members of the Dramatic Authors' Society; and was originally performed at the Princess's Theatre, under the management of J. M. Maddox, the 8th of October, 1844. It is the best and most successful of the three ver sions, which were brought out in London. We have seen that translated for the Adelphi by Mr. Bourcicault, author of "London Assurance"; but though a spirited and effective piece, it is inferior to this. At the Haymarket, Mr. Charles Matthews produced a version to which he gave the title "A Match for a King;" but, though it was favorably received, it did not have a great run. James Wallack was

the original Don Casar at the Princess's. The critic of of the "Athenæum" remarked of him, that if he was not the most agreeable he was the most effective personator of the hero, and appeared" in the smartest and truest version of the piece."

Don Cæsar de Bazan was first produced in America at Mitchell's Olympic Theatre, December 9th, 1844. It was played, a few nights afterwards, at the Park, and has now become a favorite entertainment at all the principal theatres in the United States.

Much of the effect of the piece depends upon its melo-dramatic points and cleverly-contrived situations; but the dialogue is glib and witty, and far above the calibre of an ordinary playwright. The character of Don Cæsar is sustained with unwavering spirit. Generous, sanguinary, reckless and audacious, he is a strange mixture of the gentleman and the ruffian-not an altogether unnatural picture, we should imagine, of an outcast nobleman of Spain. His traits, though amusing,

have little that is admirable in them. His courage is the courage of heedlessness and unreflecting gayety. He is the very reverse of Jo anna Baillie's description of a brave man:

The brave man is not he who feels no fear,

η

For that were stupid and unnatural;

But he, whose noble heart its fear subdues

And freely dares the danger nature shrinks from!"

But Don Cæsar is not presented as a "model for the young men of the age." After we have said the best of him we can say, we must admit he is a desperate bully. He is one of a class, of which there have been too many in every age, and even in our own country: but the class is growing less and less numerous, and by and bye, let us hope, we shall have to look to the stage, that mirror of past times, to find its sole remaining representatives.

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Park, Dec. 1845 Mr. Crocker. "Dyott.

"Charles Kean
"Fisher.
Miss Crocker.
Mr. Anderson.
"M'Douall.!
"Johnson.
"Gallot.

Mrs. Charles Kear
Mrs. Barry.

Nobles, Soldiers, Men-at-Arms, Alguazils, and Populace.

COSTUMES.

THE KING.-A rich brown Spanish dress, trimmed with gold lace, slashed with black satin, silk stockings with gold clocks, black shoes, large Spanish hat with black feathers, one red ditto, point lace collar and cuffs.

DON CÆSAR.-First Dress: Old blue velvet trunks, leather doublet, brown velvet sleeves, old brown sombrero with old feathers, large buff and red striped cloak, torn point-lace collar and cuffs, old silk stockings.-Second dress: Rich emerald green velvet Spanish dress, slashed with white satin, jacket of white satin, cloak of white satin, turn back, embroidered with broad philacteries of dead and bright gold, white hat, white feathers, white silk stockings, shoes, with gold and satin rosettes, and dress trimmed with satin of the same.-Third dress: Blue cloth doublet and breeches, blue silk stockings, jacket looped with black velvet, black velvet hat, blue feathers, point lace collar and cuffs, sword, black boots.

DON JOSE.-Amber jacket. purple velvet cloak, trunks richly trimmed with gold and bows of crimson satin ribbon, drab hat with one blue feather, russet boots, point lace cuffs and collar.

MARQUIS DE ROTONDO.-Scarlet cloth shape, blue velvet cloak richly trimmed with gold lace, bows of blue ribbon, russet boots, white gauntlets, black velvet hat, feather, lace cuffs and collar.

LAZARILLO.-First dress: Green cloth doublet, orange cloth sleeves and breeches, braided with black, loops, and plated buttons, green stockings, russet shoes, black hat.-Second dress: Violet velvet tab'd jacket, full breeches, looped with scarlet ribbon, scarlet silk under-sleeves, scarlet silk stockings, black shoes, rosettes. LOPEZ.-Brown Spanish suit.

ARQUEBUSIERS.-Buff coats and full Spanish breeches, buff boots, helmets and breastplates. MARITANA.-First dress: Amber petticoat trimmed with scarlet, scarlet overdress open in front, scarlet body, Neapolitan apron and cap.-Second dress: White satin with blue flounces, blue body trimmed with black lacc.-Third dress: Black velvet tunic open in front, trimmed with silver, under-dress of blue satın, frill of lace, blond veil, head-dress of flowers and pearls, with coronet. MARCHIONESS.-Scarlet tunic dress over white satin, trimmed with gold and black lace, black velvet head-dress trimmed with scarlet ribbon and lace. Time of Representation, one hour and fifty minntes.

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.

N.B. Passages marked with Inverted Commas, are usually omitted in the

representation.

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