“Wheatley opened the real and beautiful gardens attached to this theatre, and inaugurated his summer season with the great London sensation play, ‘The Duke’s Motto.’ In point of fact, this melodrama swept over the city last night like a tornado. Besides ‘The Duke’s Motto’ at Niblo’s, we had another version of the same piece, called ‘The Duke’s Signal,’ at the New Bowery theatre; a third version, called ‘The Duke’s Device,’ at the Old Bowery theatre, and a burlesque, entitled ‘I Am Here,’ at the immortal and inimitable Bryants’ Minstrels. We deem it proper to give Manager Wheatley’s production priority of notice, however, for he has the original title and the original play by Paul Feval and John Brougham, and he has placed it upon the stage with a taste, skill and liberality which mark him as one of the most enterprising, as he is one of the most successful, caterers for the amusement of the public.
‘The Duke’s Motto’ is a translation and adaptation by John Brougham of Paul Feval’s play ‘Le Bossu.’ . . . Brougham’s adaptation was made with the consent and assistance of Mr. Feval and has been running over a hundred nights to crowded houses at the Lyceum, London. . . . The result is a most striking play. . . .
The cast was exceedingly strong. . . . [Collins was] better than we have ever seen him before, and sang two new songs, the words by Brougham and the music by Harvey B. Dodworth. The first song, ‘The Amber Tide of Usquebaugh,’ is not set to a popular tune, but the other, ‘Where There’s Life There’s Hope,’ was written in Brougham’s best vein, and was tremendously encored. Mr. Collins’ singing was, of course, admirable. . . .
. . . The audience overcrowded the theatre, and the involuntary exclamations of wonder, surprise and pleasure and the constantly recurring applause stamped ‘The Duke’s Motto’ as one of the greatest successes of the day.”