The dialogue is truly Colonial — rather too much so for our taste — although the "Cabbage-tree hats" that crowded the pit and galleries on its first night of representation testified their approbation of its merits, in their estimation, by clamorous applause.
"[1] "An old stage-struck gentlemen (Feton,) bitten with a mania for dramatic composition, in which, however, according to his own account, he has not been eminently successful in the great Metropolis, emigrates to Sydney with his son (James) who falls in love with a Currency Lass, (Madame Louise), who personates a variety of characters to obtain the consent of the old gentlemen to the marriage of herself and his son, as the old gentleman has an idea that all the natives are black, he naturally en- tertains an insuperable objection to become the Grandpapa of a parcel of "little black pickaninies."
Another young lady, Miss Dormer, (Mrs. Torning) is sent out from England, consigned to the old gentleman, who has engaged to get her a husband — but, failing in the speculation, she assumes the character of a vulgar girl, (for what purpose we could not perceive) and insists on the old gentleman, performing his contract with his friends, by taking her himself, as she alleges she is indifferent to the kind of man she gets "so as he as lots of tin — and can keep her in slap-up style, like a lady."
The old gentleman is horrified at the idea, and promises his son to consent to his narriage with the Hottentot Venus herself, if he will only rid him of the persecution of this vulgar girl, by providing her with a husband.
The compact is agreed to on the part of the son, who produces the Currency Lass' brother, for whom Miss Dormer confesses she has long entertained an ardent and mutual affection.