ter, the Yorker, whose stratagem is to personate a Yankee trader for the purpose of obtaining a West Indian heiress, was performed by Mr. Harper. There is much dramatic skill evinced in this trifle, and dialogue well suited to the characters. The author played in it as a mongrel creole, a kind of tawny Mungo.

CHAPTER X.

Opening of the new Theatre in Philadelphia by Wignell and Reinagle -Mrs. Oldmixon-Sir John Oldmixon-Mr. Moreton-Mr. Fennell-Mr. and Mrs. Francis-Mr. Green-Mr. Harwood-Mr. Darley-Mr. John Darley-Mr. Blissett-Mr. and Mrs. Whitlock -Mr. Chalmers - Mr. and Mrs. Marshall-Mr. Bates-Miss Broadhurst.

AFTER the long delay occasioned by the yellow fever, Wignell opened the splendid theatre, which had been prepared for him in 1792, on the 17th of February, 1794. He had brought from England Mr. Milbourne, an excellent scene-painter, who decorated the house and furnished the necessary scenery, as far surpassing any stage decorations heretofore seen in the country as the building surpassed former American theatres.

The plan of this building was furnished by Mr. Richards, who was Wignell's brother-in-law, and secretary to the Royal Academy. The model was burnt when the house was consumed. Mr. Richards likewise presented to the managers several very fine scenes, and the beautiful drop-curtain, which was destroyed likewise by the fire of 1820.

The part of the theatre before the curtain formed a semicircle, having two complete rows of boxes, and higher up, on a line with the gallery, sideboxes. The boxes were supported by pillars formed of bunches of reeds, tied together with red

fillets and gilt. Festoons of curtains and numerous chandeliers gave a brilliant effect to the whole. The first dramatic pieces presented to the public of Philadelphia by the new company were The Castle of Andalusia and Who's the Dupe.

The orchestra, under the direction of Reinagle, who sat at the harpsichord, was as much superior in power and talent as the other departments of the Drama.

Mr. Reinagle was the brother of the great animal painter, and father of our worthy fellowcitizen Mr. Hugh Reinagle; he was a very genteel man and skilful musician. The first piece played was an opera, and we are informed that, notwithstanding the great dramatic strength of the company of 1793, Mr. Wignell was led to rest his hopes on the operatic department. Mr. Wood says, he "has often declared to me, that, had he devoted all his care to the Drama, instead of music, he might have been rich instead of a bankrupt." [He opened in Annapolis, as in Philadelphia, with The Castle of Andalusia.] “The first year I visited Philadelphia," says Mr. Wood, "I saw the opera of Robin Hood greatly played and sung, to a house of forty dollars."

The same friendly correspondent has furnished us with a cast of Every One has his Fault, as performed by Wignell's company in 1794, which will give an idea of the strength of the corps to all who remember the principal performers, or who may turn back to this page after reading the notices we

shall give of them. "Lord Norland, Mr. Whitlock (his best part); Captain Irwin, Fennell; Placid, Moreton; Sir Robert Ramble, Chalmers; Solus, Morris; Hammond, Greene; Mrs. Placid, Mrs. Shaw; Miss Spinster, Mrs. Bates; Lady Elinor, Mrs. Whitlock; Miss Wooburn, Mrs. Morris; Edward (a matchless performance), Mrs. Marshall." We proceed to give a sketch of the lives and dramatic education of some of the most prominent performers in this very efficient company. Mrs. Oldmixon was first seen by the writer in London as Miss George, filling the station of first comie singer, and the line of comic girls and chambermaids, at the Haymarket theatre. She held the same station at Drury Lane in the winter. She was so distinguished a favourite at this time, 1785-6, that her portrait was exhibited in company with John Palmer's, at Somerset House, by Russell, the best painter in pastils or crayons that we remember. The expression was very characteristic, full of archness, and might have passed for that of the Comic Muse. Mrs. Oldmixon retained for the many years she was on the stage great vivacity and force; in the later years of her stage history, she frequently played the old woman of comedy, and with peculiar effect.

She changed her name by marriage with Sir John Oldmixon, recorded by Bernard as the Bath beau. As Lady Oldmixon, a stage-player would appear rather incongruous, and unsanctioned by custom; the title does not appear in the play-bills,

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neither was it assumed in private life. The lady was called universally Mrs. Oldmixon, except by old Philip, the doorkeeper of the stage, who was a German by birth, and had been brought hither with other slaves of the Prince of Hesse. Philip could see no propriety in putting the Mrs. before the "old." "De fools! dey are always axing for Mrs. Oldmixon! Mrs. Oldmixon! ven I tell 'em dey mean old Mrs. Mixon, and yet dey vont larn.” Such was the complaint the porter made of the stupid Yankees to the lady herself; and none would enjoy the joke more.

Sir John, though not an actor or an author, is so intimately connected with the stage, that we must not omit him. Bernard, who will be entitled to a place in our narrative of stage events, and collection of theatrical characters, says he first met Sir John at Bath in 1784.

"It was during one of my morning calls that I met Sir John Oldmixon at his lordship's :" [one Lord Conyngham, who was the model of Bernard's Lord Ogilby]" and the flattering introduction I then received improved our previously distant street acquaintance into a lasting intimacy. This gentleman, from the refinement of his dress and manners, bore the peculiar appellation of the Bath beau, and upon all points of good breeding was looked up to as an oracle. This distinction in the metropolis of fashion he was not slightly proud of; it acknowledged him as the legitimate successor in the dynasty of Nash. Certainly, the mechanism