The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1864-12-16
Antraasaa- Singers.

the many Some think Forrest is one of those
"robustious, periwig pated fellows, who tears
passion to tatters, to rags, to split the ears
OF the groundlings." Hamlet, in his instruc-
lions to the players, says "such fellow ought
to be whipped for out-doing Termagant.'
And yet Forrest has always tickled the eyes
and ears OF the "groundllngs"l drawn fun
houses, and received the most enthusiastic
paudits of the spit" Theatres once nao q
place called the pit, but we believe the more
fashionable parquet has now taken us place.
No doubt this celebrated tragedians repu-
tation racaivad ;ts Hr.t impulses from the hd-
bitues of the old-fashioned pit. He did net
then-whatever he may do now-"acquile
uan and becet. In the very torrent, tempest ard
whirlwind of his passion, temperance that
g 20 pava IL smoothness." Shakespeare would not
: have liked or commended such acting. In the
estimation of the "groundlings," he must have
appeared tame and even dull on the stage;
and yet we have every reason for believing
that 10 his acting he held the mirror up to ma
ture, and his performance could not have been
characterized by the use of the word 'over-
e acting" 9t san lax 3sg
At one time In London there was much ex-
element in relation to Garrick and Barry.
Both had their particular friends and admir-
ers, and of course these admirers did not
agree 10 opinion about the merits of these
celebrated actors. Barry was tall, very hand
some, and graceful in all his motions; but
Garrck was under middle size and the auto
crat Of Drury Lane theatre. There was a
contest between them which continued twelve
nights. and Romeo and Juliet was the play.
Barry performed Romeo in Convent Garden
ai against Garrick in Drury Lane. The fever
ran high, and the people got enough OF the
lovers Of Verona, especially the country folks
who visited London. Some wit, out of pa
ao' thence, and sighlng for change Of the pro-
eioa gramme, wrote this epigram;
'''wel what's to-nigh.!' . says angry Ned
As up ON bed erouses
aarfrlf1 Romeo again be shakes his head; : s-2ilc
ia y t-saA plague on both your houses,'st
The beautiful Miss BelIamy played Juliet to
esa Garrick, and Mrs. Cibber played the sane
character with Barry. DR.. Doran says:
sr os "There is no doubt that Mrs. Cibber had the
~ handsomer, more silver tongued and tender
sioa lover. she seemed to listen TO him in a sore
OF modest ecstasy: while Miss Bellany, eager
love in her eyes, rapture In her heart, and asn-
q a orous fmpatience in every expression, was
7f reldy to ding herself into Romeo's arms. In
goo Barry's Romeo the critics laud his harmony
4 OF feature, his melting eyes, and his unquaid-
q ed paintiveneas of voice." 00
As for the rival Juliets, it is said that Bella
my was more tender and natural, while Glib
Der was grander and more tragic. But the
ign contest was between the two Romeos. A la
bg ady who did not pretend to be critic, but had
common sense, and was guided by her feel
ings, seems to have ably distinguished be-
9 tween them. She said: n
~ "Had been Juliet to Garrick's Romeo, SO
ardent aud impassioneu waS ,iSJ ssiO'lIv rI'syv
Rss 4aASHy b S1RR had been of to Bar
RVS Rom 30, SO tender, so eloquent and sednc-
tive was he, l should have certainly gone
- Id0t0n to him." EA N@AA taAG r8
.,ei This woman. blessed with good share OF
sn common sense, and possessing the true senli-
inents and feelings of her sex, hit the nail on
s'a the head exactly. What she said was worth
Is volume Of criticism on the subject, however
e ingeniously and ably it might be written
Overacting, rantng, raving, gutteral tones,
~ "tearing passions to rags" can never take the
a place of expressive looks, distinct articulation
o. and correct information of the voice. These.
with proper attitudes and gesticulations will
always find avenues to a heart worth winning,
1s
Il p and strike tavorably mind whose opinion is
2 worth having.
q Thesame remarks may, with propriety be ap-
~ m piled to opera singers; and here is wide feld
g for Just criticism. 1t is well known to all OPP
era goers that the passion of love forms the
theme of the most touching melodies and du-
@ ettos in sill operas, and especially in the tall
ID ian. The love-making tenor and the sweet,
sa'r responsive soprano must not be overstrained,
and explosive tonesg should be used with
great care. The action, too, must not be too
Mo violent or startling, as is too often the case
with performers, especially IL, the ,chromatc
-. PASSAGE False one love thee STILL" in Bell
CIV mis- opera OF La Somnanbnla We have
L heard this intense sentiment of love rem.
z 81 dered by a performer in explosive tones
and with violent action that spoke more OF
anger Than Of the tender passion. and yet the
singer was celebrated as a good tenor The
trouble with him was, he either did not I'M
derstand the sentiment and emotion the au-
thor designed, or was unpardonably careless
andnegIgent In his role aaAa9
Such sentimental passages do not require
mani tc's countenance, nor maBac's voice or
action, but they do demand deep feeling and
intense emotions And these must be felt b q
the perfo mer before proper expression can be
given to them. In such dilirium of feeling
D In such an intensity Of passion there must be
adeep underlying current which Is not shown
n violent contortions Of the body, nor in ex-
plosive tones of the voice. iaif'st
In warlike music or in patriotic songs,
declamatory style may be used to certain
= y extent, and the passions Of hate and revenge
at certain stages of them may demand expo-
sive tones and powerful gestculations in or
der to their full development and expression.
10 public speaking, too, there is such thing
as OVERRIDING. There is a wide difference be-
tween true oratory and violent defamation.
Kossuth furnishes an excellent model Of true
elcquence. In his speaking is shown the re-
markable power of distinct articulation, cor
1el rect intonaton and appropriate action. He
never overacts nor strains, nor cracks his
voice, however deep and strong the emotions
may be with which he wishes to stir the hearts
OF his auditors. And yet no living orator can
stir the hearts of the multitude deeper than
Kossuth.
But we have already written more than we
Intended. The subject is fruitful and to do
any thing like Justice to it would require
) volume instead of newspaper column, We
commend to all what the woman said about
Romeo rs rendered BY the celebrated actors
Garrick and Barry. s6s