New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1862-10-27
would, there being always plenty among an audience

TO laugh at ridiculous extravaganza, he womb
make his next bow burlesque, throwing his SWORD
up behind him like terriers tail, or wink at the
stalls in self.approvsl Of successful political in'
trigue OF course he would keep his hat on a. all
occasions when ladies' were present. for that is one
Of the rudimens of elegant comedy acting and to 60
otherwise is set down as sheer pedantry. History
would thus be enlivened by the picture Of st. John
as rollicking buoon; which 10 about as near as the
American or English stage usually comes to repre-
sensations Of this line Of character.
Mr.. Bandmsnns performance was simply gracious
and easy. It's general effect lay in its absence OF at
tempt at particular effect. single struggle to OBJ
tain applause on false preences would have destroyed
it's symmetry. But its dramatic opportunities were not
of course equal To those part oShyock which no
performed on Thursday evening Here his success was
more emphaticaly marked. The audience was not
exclusively German, many Americans having been
attracted by the growing reputation OF tho actor.
The PLAY was produced with more than usual fidelity
to the original text-a practice, by the way, much
commoner on the German stage than on our own.
The last act as usual was omitted, the interest Of
the play ceasDg with the climax OF the fourth but OK
those which were given, few scenes were varied. We
do not mention this az q special merit, but simply to
show that the ordinary means were not taken TO
cluster all the events around the person Of the lead
ing character. The performance Of the subordinate
parts was not remarkable, though CAREFUL and even
more than sufficient for the mere purpose OF sustan-
ing the 4" star" Mr.. Bandmann's personation We
cannot possibly speak in complete detail, but can
only endeavor to indicate in what raspects il differed
from the traditions, in what respects it reproduced
them, and the artistic effects by which it was raised
in ono strong sense to a higher level than that on
which it is usually presented.
The dress and " makeup" were peculiar. Hair
and beard gray the beard doublepointed and curled
at the ruds The hair was also cured at the sdts,
the top of the head being bali. The cap was OF soft
stuff, fitting close around the head, but high, and
rirnless. The long gown WA of dark brownish
color, and trimmed with fur The trousers were of
dark blue, or some similar hue, loose, and tucked
into the tops of the shoes or CATERS, which were OF
light leather or the accuracy Of these details We
can partially assure ourselves by the old Jewish
pictures, which give exactly similar costumes The
arrangement of the face was extremely fine. Mr..
Bandmann is a very young man, a. his Boiingoroke
showed but such suspicion could have arisen among
any who saw him for the first time in Shylock. The
old and iime-worn yissge was Indicated by the
customary methods with an effect heightened by the
actors remarkable command Of feature. Whoever
has looked at Gustave Dore's illustrations TO 1.-THE
Wandering Jew bar seen literal portraits Of Mr..
Bandmann in THE part. His entrance in the third
scene OF the fret act showed him an old man, willy
and wiry no, seriously touched by time, though
-. =. II.
in moments Of excitement. There WAS sufficient
vigor to Justify this idea in everything except the
gait, which was not appropriaie-tbe only question
able point of the entire performance. The venomous
force Of the recital Of bis wrongs TO Antonio be-
yond any expression Of the same passage TO which
We have been accustomed, although the business of
the scene was according TO the common usage. In
the third act the second is unimporant) the princ
pal eject wa Of the announcement Of Antonios
uishaps, where the Jew, torn by the loss Of his
daughter IL moved to sudden rapture by the certain
prospect Of rvengDg bis old injuries. The alterna
tons from agouired despair 10 exultstion were con-
yeyed by Mr.. Bandlnsnn win really extraordinary
power the electric mobility Of bis face giving double
effect 10 the action. 10 the fourth act the convsn-
tionsl representations were followed except at the
very elose, where, rising from tie degradation
which he has brought upon himself, and reasserting
the feroeiiy Of his hatred toward tho Christians,
he scornfully brushed away the touch OF Gratiano,
and vanished still defiant as at the first. The move
meut seemed ingenious, but TO give it due weight,
there should be no semblsnce Of humiliation at any
point; and indeed, the lines
Nay tale my NE and ALL" etc,
which are always uttered in heertbroken tones
(by Mr.. Bandmsnn az well as others might just "a
naturally bs made a reckless defiance. Mr. Band
MAINS purpose, at the exit appeared TO be to repre-
rent the Jew s, unsubdued, though foiled, and fug
ge.s future visions of ylock repairing his pecu-
mary damages, setting up new brokerage, creeping
out of his obligations and playing the devil with all
yenetiaus, as il nothing had ever happened to warn
him against the traffic in human lesh. Mr. Band
mann's performance was warmly applauded, and
more warmly appreciated On Thursday evening Of
this week he plays Richard the Third.
Mr.. Edwin Booths fifth week at the Winter Gar
den commences tonight He plays Romeo, which
he will repeat tomorrow. On Wednesday 90 Ham
let will be repeated. On Thursday, 1.-THE Mer-
chant OF Venice" this time for the benefit Of the
orphans Of the Roman Catholic Asylum On Friday
and Saturday, Richard Ill.," the performance Of
which last Thursday was emipenly successful, and
the repetition Of which Is strongly urged. Mr..
Booth audiences last week were the largest and
most enthusiastic which lie has drawn. His benefit
on Friday night the special event. and WAS most
brilliantly attended. He growS in public favor as
bis engagement engthens
AT Niblos Garden Mr.. Forrest tonight plays
Claude Menotte for tn, second time this season. To-
morrow Mr. liackctt takes leave Of the public for