GATTI, must be rejoicing greatly. For a cool, calm, calculating villain, recommend me to Mr. CHARLES CARTWRIGHT, the very best of gentlemanly scoundrels of modern melodrama. He is admirable: but directly the honest, outspoken Adelphi audience nose his villainy he has a bad time of it, as no matter what he may say or do, no matter whether he speaks slowly or quickly, runs off, saunters off, lounges in or hurries in, he is at once met, and so to speak "countered," by a storm of fiercely indignant hisses. Surely an actor whose _rôle_ is sheer villainy of the deepest dye must be able to command enormous terms, seeing what a long training it must require to arrive at taking cursing for compliments! An Adelphi audience personally hate and detest the stage villain, but for all that, they couldn't do without him, any more than can the melodramatic author or the Messrs. GATTI. After _the_ villain, who certainly holds the first place in popular unpopularity, comes the Heroic Boy, CHARLES WARNER, all heartiness and simplicity, a very "bounding Achilles;" and next to him, the suffering heroine who defends herself with a revolver, who is finally charged with murder, and gallantly defended by the Heroic Boy, who, attired in wig, gown, and bands, appears in the last scene of all that ends this eventful his'tory as Counsel for the Defence, pleading for his wife before a full court, much less crowded than is the Old Bailey generally, and apparently far loftier, and much better ventilated. The case does not attract considerable public attention, as there is only a sparse attendance of nobodies in the gallery. Throughout the drama Mr. GARDINER and Miss FANNY BROUGH capitally represent the comic interest, which is brightly written, and "goes" uncommonly well.