[Reprinted from the Boston Commonwealth.]

  Mr. Kimball brought out Monday evening, to an overflowing house, the long expected dramatised version of Mrs. Beecher Stowe's celebrated and world-read "Uncle Tom's Cabin." In all the particulars of scenery, music, wardrobe, and adaptation of parts to suitable characters, the play was all that could be asked. Indeed, several of its scenes are of unsurpassed excellence, and the panorama [the best?] of the very many similar works which have been on exhibition in this city.

  But we were disappointed in the play, and instead of seeing a grand realization of the living incidents of the tale, in many respects the performance might be designated as an uncouth extravaganza. That there are many touching scenes and effecting tableaux is most true, and in spite of one's strongest will the tears will often course down most unaccustomed channels. But the necessity which the management doubtless felt to adapt the play as well to the amusement as the sympathies of the audience, has led to the introduction of parts which are but a burlesque, not only upon Southern customs, but social life anywhere.

  We observed that where the book is followed most literally, both in plot and language, the deepest effect was produced upon the audience. The slang conversation of the negroes and the Ethiopian "break-downs," seemed to seriously mar the otherwise favorable impression the drama was producing. As a literary production, we think the effort will not be productive of very great credit to Mr. Conway. Scarcely any argument is introduced, and even where it is—in one instance in partial defence of the institution of slavery by a comparison with the evils of excessive labor in England—the position is so feebly maintained, that though terminating with the expression that the system was of "the devil," the audience greeted it with a very general hiss. Possibly, however, a portion of this disapprobation was intended for the sentiments expressed.

  Still, we must acknowledge that with their poor material the principal actors executed their several parts with much success—and in this was seen the excellence of the Museum company. "Uncle Tom," the hero of the piece, was most affectingly done by Mr. Whitman; we question if the personification could have been better. The faithful, devoted, pious old negro was capitally delineated—a real character, and not one of fiction. Mr. Joyce, as the negro-trader, "Haley," was also quite successful in his personification of calculating rascality, though a little more rough abandon would not be malappropos to the character. "Drover John," by Mr. W. H. Smith, was a fine specimen of the burley honesty of many Western farmers, and, as might be expected, was perfect in its kind.—"Simon Legree," the Red River planter, was given by Mr. Davies in a spirited manner, and the cool, placid villainy of the former pirate well portrayed. Mr. J. A. Smith, as "St. Clare," was quite excellent, as was also Mr. Finn, as the slave "Adolph," his servant. Mr. Keach, as "George Harris," threw much cleverness into his part. The easy, irresolute "Mr. Shelby," was fairly done by Mr. Stephens. So much for the male characters.

  "Eliza," the quadroon slave, by Mrs. Fries, was very faithfully and feelingly executed, as indeed all of this lady's personifications are. "Little Eva," by Miss Weston, was truthfully presented—the rosy-cheeked and bright-eyed little fairy acting the daughter of the rich merchant to perfection. "Cassy," by Mrs. Vincent, was graphically done, the wild extravagance of the character, being admirably set off. "Marie St. Clare," by Madame Rudinsky, was a good illustration of a nervous, indolent Southern lady, and was well done. "Aunt Chloe,"—what there was of her, which was very little—was well-presented by Miss Preston; while the saucy, pert negress, "Topsy," was well given by Miss Gaszinsky. "George Shelby," as a youth, found a good delineator in Miss Hart, who, as a boy, it must be confessed, is an unusually handsome and agreeable one.

  With its many faults, as we have said above, the play has some touching incidents and passages, and we would advise a general audience to witness its performance. It will be but natural for all who have read the matchless story to wish to see its attempted translation into seemingly "real life;" and even the few who have not read it may possibly desire to see a personification of what has been so much talked about. From the two classes, the management may expect crowded houses for some weeks to come.—We think it will drop many grains of good upon what may be called, politically speaking, a very barren soil.—Boston Commonwealth.