It would be well, if it were in our power, in looking back upon the past season, to find that _all_ things had been done, which justice requires to be done, by an establishment so flourishing as the Park Theatre. But unluckily, there is more left undone, than any excuse which the management can produce can palliate. We can affirm, without fear of contradiction, that there is no theatre in the world, whose immediate support, from the _public_, can bear comparison with the Park Theatre. No theatre in this country, it is well known, pretends to boast of the immense and constant patronage of the Park. The successive bankruptcies of almost every manager who has attempted to direct the concerns of the principal English theatres, is notorious, and is quite sufficient proof of their want of support from the public; and among the uncounted and uncountable theatres of the gayest and most theatrical nation in the world, those that depend upon their superior attractions for their great names, depend also upon government for their principal support. In Germany, there is the same dependence; and in Italy, the land of song, the very hot-bed of musical genius, opera itself does not find its support in the public alone, but is fostered and encouraged, both by the civil and ecclesiastical authorities. Such being the enviable situation of the Park Theatre, it is no more than reasonable to expect from it a just acknowledgment of its incomparable obligations, in the _perfection_ of every thing belonging to its management and direction. A very brief examination of its present qualifications, will show whether or not this acknowledgment has been, or is likely to be, promptly awarded. There is in the stock company of this theatre, _one_ good comedian, unequalled in America, we _know_, and unexcelled in any other country, we _believe_; one comic actress, without a superior, in the characters of the veteran dowagers, venerable and doting nurses, ancient spinsters, and old women generally; one tolerable _farceur_, who would be a comedian, if he would be content to be natural, and had a sufficient knowledge of the eccentricities of character to be aware that extravagance is not _always_ their prominent trait. One second comedian for old men, country-clowns, talkative, officious servants, such as _Pedro_, in 'Cinderella;' one 'actress of all work,' especially good in chambermaids, and never bad in any thing which the paucity of talent among the ladies of this company _obliges_ her to undertake; two good light comedians, one of them always sufficient for second characters in tragedy, and the other particularly effective in the heavy villains of opera and melodrama; one interesting and sensible actress for the ladies of comedy, and never at fault as a hoyden, or the spoilt miss of a boarding-school;[12] one third-rate singer among the men; one 'ditto ditto' among the women; one infatuated youth, whose pretty face is