New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-09-11
1919, lN MtGlN NrVAGr


49,, -, ,,l.,ci last niSht e. brilliant AMI. as
-, -. ,S,als mcasuyp, - cNvded a house IS
>, - A,r. The Performance cpeacd 9Th a
- e,,,n Ne,icrVs Charming comedy lie dept
: ,-.,r.u, which sc evioyci with delicious relish.
-. ,r,,ans oi ErAs,c and his excited explanation
-, "a rrcsvned ,lval the arol limits alton Of the iesl'
s,,, .esr hy the servants 81 The humorous turn IN
sASA sA~e thie~ 'py again their masters t"unS'
), tssins up in Sr,o~Que manner theu ''Ne-eu"fs'
~, all. Enns Rcnes celebrated soicquy on wo-
,n.n ~egc full Of rich mcrrimcnL The scene in which
4, sni,.,ca the movement Of the to which Ars-
sle. IS be avcrei, hkored woman and the shaking
=. ,,l 70 and ft,r re-, mbiug her also in its rest
.,,,s eonyu,sci with laughter tina; portion Of the
h,usa Who could enter into the spiri, Of the piece
wn h,uevcr. have not been smptcd by even so Sc.
s,r:ps rrcmcr plot from reiiera,ing our suggestion
eA,Ae ouedy should follow, not precede tho ia
Ga play.
Nothing could be more full Of lonely loveNness,
yse, sadness and detected dignity than RaoheTs PIC
IRE oi Mary as she entered ON the stage, with her
AK raven hair and black velvet robe and white
sanding collar We could almos, fancy we saw be
s,r. re ore of the statues of Westminster Abbey.
warmed by the touch Of genius into life In the first
a., Rachel has DO extraordinary occasion for the ex'
A,nurse noble resignation aud tender softness, but
~ s,e soon reminded of her conscious sense OF
r., own dignity BY the Indignation with which she
,,;ccs Mortimer rude behavior. But soonths cloud
nsssfs into io5 when Mortimer explaining that his
nSeness rss but ruse hands to her the letter of
,ha Cardinal Guise and with rapture she kisses the
nsr<r. But on Burleighs appearance JOY and hope
Seps., gloomy expression settles over her beauti-
nj face; the Consciousness of standing in the presence
n an impacsble enemy ever hovers about her brow,
.p the sense of injustice grows more and more as she
listens TO the infe1ibe minister until she at length in
TIE bitterness of her heart, calls out that Elizabeth
kss power to murder but not to judge her, The pas
s:ons,e emphasis with which she uttered these
words naturally told on the audience but
yhst we most admired was that cloud of set
ted sadness, that cir of predestination of her
doom which from the moment she enters the stage
els you with a strange, unaccountable sorrow you
can neither account for or control She personates
too every passion without ever losing that lofty bear
ing Of royal dignity which subdues her every word.
The second act is sadly weary. Rachel does not ap
pear. We can fully appreciate the praiseworthy ex-
ertions Of the excellent actors but Lebrun is not Cor
Deile and TIE WEAKNESS which in the one is redeemed
BY classic TASTE il absolutely intol,rabe in the other
Mary and TO attention and to be introduced to her 10
the prison-garden, with radiance of enthusiastic
happiness on her brow. How brightly Rachel looked
8. ths moment, and how the tender emotions which
brill Marys heart shone in every lineament But
Suddenly comes charge. She grows pale. She
ssggers The picture ofjoy has vanished. Attending
vanan stands before you with quiverirg heart and
bssyipg breast. 1t is the Queen who is announced,
and 1ctbing can surpass the feeling of horror which
Rachel expresses Is she endeavors to break away.
But Melvil her FRIEND comes At seeing him there is
world OF feeling in the relief she looks in beholding
IN such moment Of helplessness the face of friend
Nothing can surpsss the psinfu uthfulness in which
Ter struggles are bited Je pas la voir,
abe saws in tore as il her whole being was shrinking
with disgust at the thought Of seeing Elizabeth Tnen
when the Queen does appear what picture for this
artist or the painter are Rsches face and pose, as
abe exclams with deep incsive tone, vibrating with
somnjty and inter sity, Ah &C regard gacf mapeat
"taate son ame." A Geld sense of horror overpowers
"a ard bepctforth our eyes are rivetted on Rachel
alone But in the intensity with which Rachel clothes
every varying phase Of this struggle, what Is
most wonderful is the all-powerful and over
Whelming impression che produces by single
word. For instance when she gathers up her woman
SOU buu oAClhulo a 70 oPPioOiS nv
In the one word opprobre whole load OF shame and
degradation is expressed. Then who can forget the
ferOcity of Rachel, when in her element of
passion you can see her fix her claw in the heart
Of Elizabeth while she points to her as
ale fruit d adutere," and the majesty of her look
and vesuvius upheaving of her nature she closes
with "vous serieg a meshieds ct moi votre reine.'
The farewell scene though clothed with sad and sol
emn beauty did not produce deep an impression as
its more impsssioned prede cessor.
Nile. Rachel deserves doubtless the highest credit
Cor the severe fidelity with which she adheres to the
authors ideal of the character she personates, and
refuses to surround it with any captous clothing.
When then, we express opinion that MaIie Stuart
will not be one of her most popular parts here we de-
sire to convey that this result is owing to lie Bruins
play, not 10 her peronation, fautess and beautiful
as il is The gltteIing and the death picture
30 teble in its truth and the spendor Of those spark
hrg trophies OF her genius which the costume carries,
will ALWAYS make Adrienne attractive. But what 10
spiritual beauty ever could surpsss that per-
sons ,p in which she first cutched the tragic crown
Byron never surpassed his fst effort, as Chde Hsr
old Can Longellow ever slrpaSs Egsrgehne
VIII Rachel or any actor who lives or ever will hve
surpsss Rachel as Camille