Having thus insulated this class of comedies, and put them apart from the old stock, to which, with the exception of the Honey Moon, there is no modern production comparable, criticism may weigh the merits of each piece as compared with its class, and perhaps find something to praise. We consider some of the comedies of Mr. Morton, however, as raised high above the throng. The Cure for the Heart Ach has much in it to commend. The moral tendency of many parts of it is good, while the incidents are exceedingly laughable. _Old Rapid_ continually betraying his trade by stuffing his conversation with the technical terms of the taylor--his son's distress at it--the honest rusticity of _Frank Oatland_--the baseness, vanity and folly of _Vortex_ the nabob--the insolence and amorousness of _Miss Vortex_ his daughter, and the whimsical incidents arising from their various designs, mistakes, detections and disappointments, form altogether a _melange_ of pleasantry highly provocative of laughter, yet by no means so low as to reduce the piece to the rank of farce, which some austere critics in London have assigned it. Of the performance generally, we repeat that it was good. Young Rapid afforded criticism much satisfaction in the person of Mr. Wood, who in many parts persuaded us that he had seen Mr. Lewis in that character, and seen him with profit. Mr. Wood's walk is not unlike that of the great original in London--a nasal tone of voice too is common to both. These, if they did not create, certainly increased the resemblance between those two gentlemen, which, however remote, was yet discernible. In _Sir Hubert Stanley_, as in every other character in which we have seen him, Mr. M'Kenzie deserved warm applause--he was dignified, pathetic and interesting. Mr. Francis gave a strong colouring to Vortex; and to say that Frank Oatland was all that the author could wish, we need only to state that he fell to the share of Mr. Jefferson. After all, we are doubtful whether old Rapid was not as well off in the hands of Mr. Warren as any other character in the play. We were greatly interested and indeed delighted by Mrs. Wood in Jesse Oatland. Mrs. Francis was abundantly droll in Mrs. Vortex; and Mrs. Seymour was entitled to the marks of approbation she received. _November 22._ PIZARRO and the Review composed the bill of fare for this evening. Although in the attack and defence of Pizarro criticism has worn down the edges of its weapons to very dulness, we cannot forbear taking this opportunity of recording our opinions of that extraordinary production. No play that has appeared during the last century, possesses the power of agitating the passions, and interesting the feelings in an equal degree to Pizarro. From a child of the brain of Kotzebue, trained and corrected by Sheridan, much might be expected. And the piece before us is worthy of the talents of such men.