Fancit's benefit on Monday last, at the Haymarket.
The old-fashioned recipe for cooking up a melo-dramatic hero has been
strictly followed in "Nina Sforza." _Raphael Doria_, the heir-apparent to
the dukedom of Genoa, is a man about town in Venice--is accompanied, on
most occasions, by a faithful friend and a false one--saves the heroine
from drowning, and, of course, falls in love with her on the spot, or
rather on the water. She, of course, returns the passion; but is, as
usual, loved by the villain--a regular thorough-paced Mephistopheles of
the Surrey or Sadler's Wells genus. These ingredients, having been
carefully compounded in the first act, are--quite _selon les
regles_--allowed to simmer till the end of the fourth, and to boil over in
the fifth. Thus we have a tragedy after the manner of those lively
productions that flourished in the time of Garrick; when Young, Murphy,
and Francklin were Melpomene's head-cooks.
Modern innovation has, however, added a sprinkle of spice to the hashes of
the above-named school.
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