In a street of the city, not more than four miles from the City Hall, in humble imitation of the magnificent temples of the Drama erected by ambitious managers in more pretentious portions of the town, the sable portion of our population have also built an appropriate mansion wherein is supposed to reside the dingy Genius of Ebony Theatricals. A portrait of some sable Garrick adorns the drop curtain; a thick-lipped lady of dark complexion on one side of the proscenium represents the Goddess of Tragedy; and on the other a woolly-headed brunette in short skirts is supposed to stand for the Goddess of Comedy. What though the portrait of the African Roscius in the drop centre, instead of Classic Roman robes, is attired in a swallow-tailed coat, with brass buttons and a red velvet collar? and what if the two ladies before mentioned are resplendent in sky-blue dresses and yellow turbans? perhaps their unusual garb is quite as appropriate to the atmosphere of the place, as the more elaborate, more classic, more costly, but considerably less gaudy wardrobe allotted to corresponding divinities in more fashionable Theatres. The appointments generally at this place might not be considered very tasteful by the "white trash," who get their ideas of propriety from Wallack's or Burton's; but any impartial observer will admit that the scenery is more creditable than the dirty green and brick-red abomination of the Metropolitan, or the paint and canvas hash with Dutch metal seasoning, which has been for years a standing dish at the Broadway, and which is still served up nightly to a surfeited audience. The female visitors who attend the delectable performances of the talented corps of this colored establishment, do not make themselves quite so ridiculous with their dress as their white competitors, but it is only because they have not the money to be as fashionable; the desire is probably fully as strong, but the cash don't hold out. And as the white folks, in the construction of their pieces for dramatic representation, sometimes represent in a peculiar light the warmer blooded passions of their "dark complected" neighbors, in retaliation the colored dramatists reverse the order and make the white men in their drama wait upon the colored heroes, black their boots, groom their imaginary horses, brush their coats, and perform all the varied round of servile duties which in representatives of the same plays by white men are assigned to them. The play of Othello is the single exception--they make the Venetian warrior a white man in a red roundabout, who makes fierce love to Desdemona, who is the molasses-colored child of a respectable darkey whitewasher. Lorgnettes, Opera-hoods, and white kids are not exhibited here in such profusion as in some other places of amusement; on the contrary, green spectacles, sun-bonnets, and calico dresses are rather in the ascendant.