regularly disfigured with the paint that goes to make up the faces of 'scape-grace nephews' or interesting 'lovers' in sentimental farces; one good reader, who plays second parts in tragedy; one bad reader, and worse actor, who rolls though Shakspeare and Sheridan with equal effect; one man who does the dukes, and plays the kings, because he is _fat_; these, with sundry female chorus-singers, who appear constantly as 'walking ladies,' and do occasionally a bit of heavy business in tragedy, and several individual supernumeraries, who are constantly sent on as 'gentlemen,' and being so addressed by the other characters, endeavor, by all sorts of awkward graces, to stultify the audience into the belief that they _are_ so--these, and these alone, constitute the stock-company of the most liberally-supported metropolitan theatre in the world! Ask where is its single tragedian, either male or female; its duplicate comedian; its additional actor or actress, of any character; its capacity, in short, to enact any one tragedy or comedy in all its parts, and 'echo answers where!' And to _manage_ this inefficient company, seek for the 'stage-manager,' and if we are not mistaken, he will be found among the things 'that were, but are not.' There are the materials in this city alone, sufficient to furnish forth a _corps dramatique_ worthy of the Park Theatre. We have shown that the company _needs_ replenishing, and it should be so replenished that every character in the drama might have a fitting representative. As the company at present exists, its best members do double duty; playing both tragedy and comedy, as dire necessity requires; while its subordinates are constantly forced into characters utterly beyond their ability even to comprehend, and to shape them even into an outward resemblance of which, all the efforts of tailors and stage-dressers must prove totally abortive. It is not proper that Mr. JOHN MASON should play both _Macbeth_ and _Jeremy Diddler_, unless for his own amusement. It is not reasonable, that the same person who officiates as tragedian, should be compelled, after 'doing the terrible' in a five-act tragedy, to assist in executing the comicalities of a broad farce; nor is it more in keeping with the illusion of theatrical displays, that the identical lady who does the 'heavy business' of tragedy, should throw aside her robes of dignity, and immediately thereafter come tripping on in the after-piece, as a coquettish chambermaid. Yet such incongruities have been repeatedly practised, and must of necessity continue to be so, until the management see fit to supply their establishment with a full complement of forces.