audience that a naughty _opera bouffe_ does upon the New York lovers
of the legitimate drama. In either case there is the charm of foreign
novelty; a charm, however, which soon loses its attraction. _Opera
bouffe_ in New York, and the moral drama in Chicago, can enjoy but a
temporary success. The former city will always return to its love of
standard comedies and SHAKSPEAREAN tragedies, and the latter will sooner
or later clamor for its accustomed legs and its favorite dramas of
bigamy and divorce.

Mr. M'VICKER, having read of the MCFARLAND trial, immediately conceived
the happy idea that the time had come when a Chicago actor would please
a New York audience. Ha therefore flew to this city, by way of the
Mississippi river and the New Orleans and Havana steamships, and last
week made a debut at BOOTH'S Theatre. With an astuteness which reflects
great credit upon his ability as a manager, he astonished the audience,
which had assembled to be shocked by a genuine Chicago performance,
by playing a part which fairly bristles with unnecessarily obtrusive
morality. Thus did he present a double attraction. A Chicago actor would
have been sure, in any case, of the support of the Free Love Press; but
a moral Chicago actor is a surprise which appeals irresistibly to the
love of novelty which exists in the theatre-going breast. The play
in which he made his first appearance here, is entitled "Taking the
Chances," and is from the pen of Mr. CHARLES GAYLER, to whom Dr. WATTS
so beautifully referred in those touching verses:

"Gayler, the Troubadour,
Touched his guitar,"

--and further language to a like effect. Mr. M'VICKER sustained the
character of "PETER POMEROY," one of those oppressive rural Yankees