Madame KATTI LANNER, by whom the ballet has been invented, is a past mistress in the art of concocting terpsichorean trifles, and never admits any difficulty in combining the poetry of fancy with the actuality of fact. In her latest production she finds that after a while a change of scene is necessary. The public, after admiring the refreshment stalls and the distant view of the Grand Hotel, want something more. Certainly, why not? The daughter of an American millionaire, who has met a rather effeminate gentleman for the first time, overcome by the heat, falls asleep. Then, to quote from "the Argument," in her dream she sees sirens and sea-nymphs, led by the _Queen Coralie_ (Signorina BICE PORRO), unsuccessfully attempt to lure away her lover, but--awaking from her sleep--the vision disappears, and she finds him at her feet. All this was very pretty, and the scruples of the L. C. C. were considered by the lack of success of _Queen Coralie_ to shake the swain's fidelity to his betrothed. Although evidently interested in the dances of the sirens and sea-nymphs--in spite of their treating him with little or no attention--he was _ultra_ discreet in making the acquaintance of her submarine majesty. When the Queen stood on one toe he merely accepted her invitation to hold her hand, and thus enable her to revolve on the tip of her right toe--but went no further. And really and truly, as a gentleman, it was impossible for him to do less. At any rate his conduct was so unexceptional in _Grace Dollar's_ dream, that his _fiancée_, who, according to "the Argument," had had "a slight quarrel with him," immediately sought reconciliation. Besides the submarine interlude, _On Brighton Pier_ has a serious underplot. _Senora Dolares_ (Signorina CAVALLAZZI), who has been searching all over the world for her daughter, who had been stolen from her ten years ago, is personally conducted to the pleasant promenade off the beach. Husband and wife seemingly spend the entire day on the Pier. They are here in the morning, in the sunshine, and here when the variegated lamps are lighted at night. The Senora is pleased at nothing. She regards the vagaries of a negro comedian with indifference, and does not even smile at the gambols of a clown dog. Suddenly a girl called _Dora_ appears. And now once more to quote the Argument. "_Dora_ plays upon her mandoline some melody the _Senora Dolares_ recognises. She quickly asks the girl where she first heard it; and _Dora_ says that a lady used to sing it to her in her early days and that the same lady gave her a cross, which she produces. The Senora, by means of the cross, recognises in _Dora_ her long-lost child. Amid great excitement she leads her tenderly away [in the direction of the Hotel Metropole], and, after some further dances, the curtain falls." Nothing can be prettier, and more truly moral, than _On Brighton Pier_. I can conscientiously recommend it to every member of the L. C.