Herald of the times. [volume] (Newport, R.I.) 1849-1856, 1855-09-13
MILE RACHEL'S CAMILLE.


with one of the most distinguished audi.
ences we have ever seen in this city. We
have had mosc brilliant gatherings more
of the diamond glitter; more elegant and
elaborate dresses, but an audience compos-
ed of so many of the truly distinguished
of our citizens, we presume has rarely been
witnessed within the walls of New York
theatre. II was such compliment as the
great trdgedienne should receve intellect
.oe-pruvatins ,o intellect, mind responding
to mind, This was no ordinary occasion /,
they came not to witness the gew-gaws of
stage representations-the drama of &C ion,
with all the stage appliances to give effect
to the scene but to see genius rising su.
perior to outward circumstances, and filling
the scene with the majesty of It's presence.
The severely classic drama Of which
"Les Horaces " is an exponent, appeals not
to the senses so much as to the intellect !;
and Therefore, by a general audience, who
go merely to be amused, it would bc con.
sidered tedious and uninteresting. Indeed
this feeling was, to certain extent, appar.
ent last night; for it was only when Rach.
el was upon the stage, that they concentra-
ed their interest upon their performance.
And yet the piece itself, as story, is re.
plete with interest still large portion
of the audience being unaoquainlcd with
the language, failed to appreciate it, even
with the aid of the translations, for it is
impossible, successfully, to divide the at.
tention between the book and the actors.
As regards the performance of Rachel,
her look and action are even more eloquent
tl.an her words. The moment she appar.
emily glided upon the siage---for it was like
the entrance of a spirit, you felt that it was
no ordinary mortal that stood before you !;
hcIook, her barring her walk, ali eviuced
that secret and inherent greatness, which
we at ono g acknowledge, although we at.
tempt in vain to define it,. Rachel's efforts
can scarcely be called acting and yet it is
the very perfection Of the art. 1t is nature
herself, and nature in her most refined and
delicate aspect. She loses her identity
completely, and never for one moment
whether in action or rsposc-by a look or a
gesture, permits the audience to doubt the
reality Of the scene.
Her voice has Il remarkable musical so.
norty, beautifully modulatcd, and capable
Of expressing every emotion Of the heart.
Wha; alworld of feeling was conveyed in
tho briet expression, 90 mes freres :"
when she hears that her broth rs have beer
slain. And again, when watching the ef-
feet of Sabina's words upon Horace and
Curiace in preventing the deadly encounter
between them, with what an expression of
hopeful encouragement she utters-" Cour-
age lis s'amollisscnl." But it is impossi.
BILE to give all the striking points with which
the peri rmance abounds. 1t is reserved
for the fourth act to exhibit the wonderful
powers Of Rachel. We have seen With
wonder the great efforts of the elder KesR'
and sat spell-bound by the power of this
genius but we have never witnessed any.
thing to equal the acting OF Rachel in the
scene where Valerus is recounting to
Horace the bravery OF his son in having
slain the Curiaiii, and who then learns that
her lover is dead The expression of her
countenance entirely changes, and the pal
lor Of death overspreads 1t as she falls in
sensible into the chair.
The subsequent soliloquy is probably the
finest piece Of defamation ever heard upon
the stage; and the dialogue with her
brother, terminating with the terrible i'm
precation upon Rome, is really fearful from
the intensity OF passion not the passion
which exhibits itself in rant and frantic
gestures, but calm and subdued, and the
more powerful from its very calmness.
We might speak OF the classic beauty Of
Rachers appearance the unequalled grace
with hich every action is marked, but il
is unnecessary, for we but echo the eulo-
gies which have already been lavished up
on her.
That she achieved great success last
nigh, is beyond all ques ton, and that too,
in the face of very formidable obstacle
the speaking in a foreign language. But
her silence is 10 eloquent, her action are
80 expressive, that her performance cannot
fail TO be appreciated, though her language
be not understood. The applause, partcu-
larly in the last scenes, was tumultuous,
and when the curtain again rose in obedi-
ence TO the universal demand, she appeared
almost unable to acknowledge the compli-
ment, from sheer exhaustion.--N. Y. Mir.
rsr.