Morrison's "faust."

Atiiong the superior attractions tó appear at the opera house, Feb. 7, the Morrison's "Fanst" holds a foremost place, and in the hands of Morrison's players, G-oethe's masterpiece acquires fresh lustre. The dramatization of this produotion is a trinmph of thé stage, the iuterpretation of the linea óf Mephisto is a revelation - A vivid realistic conoeption of the Mephisto which the great Germán author designed. Plays of the spectacular order are fast finding favor, the Kiralfy's no longer are looked upon as the originators of everything admirable in this line. Morrison's produotion of "Faust, " is a triuinph of mechanieal effects on the stage. The effeots produoed by the many colored lights are entrancing. In the revel of the demons, on Walpurgis night on the snmruit of tho Broeken the entire stage seems afire and added to the olash of the eleroents comes the revel of the spirit f rom the neither World and the angnish of their victim. The tablean of the last act is sublime, the wronged Vlargnerite is represented as in the cJonds apparently unsupported, with Faust clinging to her robes, hanging as ;he scènes does, f rom one most sorrow'ul death, to thistransition in theskies, he effect is beyond description. Besides the scenic effects the drama of 'Faust" is much on a par with the ibretto of Gouuod's opera. The same grand moral lies interwoven in the )lot and each sentence is either a re)roach to human baseness or an incen;ive that impels a man to shake off, so far as in himself lies, his frailty.