Johnstone gave great spirit, and an appearance of cordial good humour, to this last character. He has a great deal of ‘the milk of human kindness’ in all his acting. There is a rich genial suavity of manner, a laughing confidence, a fine oily impudence about him, which must operate as a saving grace to any character he is concerned in, and would make it difficult to hiss him off the stage. In any other hands we think Mr. Barney O’Mulchesen would have stood some chance of being damned. Oxberry’s Tim was excellent: in those kind of loose dangling characters, in which the limbs do not seem to hang to the body nor the body to the mind, in which he has to display meanness and poverty of spirit together with a natural love of good fellowship and good cheer, there is nobody equal to Oxberry. His scene with Dowton, his master, who comes home, and finds him just returning from the fair, from the passionateness of the master and the meekness of the man, had a very comic effect. This was the best scene in the play, and the only one in it, which struck us as containing any thing like originality in the conception of humour and character. Of Mrs. Davison’s Lady Moreden, we cannot speak favourably, if we are to speak what we think. Her acting is said to have much playfulness about it; if so, it is _horse-play_. A singularity in the construction of the scenes of this comedy is, that they are nearly an uninterrupted series of tête-à-têtes: the personages of the drama regularly come on in couples, and the two persons go off the stage to make room for two others to come on, just like the procession to Noah’s Ark. Perhaps this principle might be improved upon, by making an entire play of nothing but soliloquies. _Covent-Garden._ Cymon, an opera, by Garrick, was brought out on Monday. It is not very interesting, either in itself or the music. Mr. Duruset played Cymon very naturally, though the compliment is, perhaps, somewhat equivocal. Miss Stephens looked very prettily in Sylvia; but the songs had not any great effect: ‘Sweet Passion of Love’ was the best of them. ‘It is silly sooth, and dallies with the innocence of love.’ Mrs. Liston, who played a little old woman, was encored in the burlesque song, ‘Now I am seventy-two.’ Mr. Liston’s Justice Dorus is a rich treat: his face is certainly a prodigious invention in physiognomy. MISS O’NEILL’S BELVIDERA _The Examiner._ _December 10, 1815._