The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1866-08-28
JOURNAL OFALONDON PLAY.GOER.
GOSSIP ABOUT ACTORS.

many interesting comments on the more promi-
nent actors who have appeared during the last
ten years in the various London theatres. Pro-
lessor Morley has for several years furnished
theatrical criticisms for the London Hammer,
and has, in bis capacity as critic, enjoyed large
opportunities for observation of the peculiarlties
OF the leading actors. HIS views are given i'll
the form OF contemporaneous diary, extending
over ten years. We can give the best idea of the
character of the book by furnishing extracts in
relation to some Of the actors in whom the mos
interest will be taken here and now.
RistOrI.
Madame Ristori having appeared this week In
two characters translated from Rachel's French
repertoire, one or two words of comparison be-
come inevitable. The two actresses diGer widely
from each other Rachel dazzled and startled
us by flashing an electric life into words and
lines She was unrivaleG in toe power of giving
an intensity OF meaning to q single phrase
Madame Ristor has this kind of power but she
has 1t i'll a less degree; her excellence appears
10 lie III clear artistic conception of each part
she REPRESENTS, a resolute subordinatiOn OF every
detail to the just working out OF the central
thought and this not seldom o,the sacrifice of
stage Ehects easily produced, sure OF applause,
but false in taste. ... ... =.
PeIhaTs l cannot dedne MADAME Ristori,s
genius better than by dwelling on her treatment
OF the part OF 'Phedre" the result being tnst,
where Rachel inspired terror, Madame Rstori
aWakens pity. The new "Phedre" is woman
full OF all honor and modesty, cursed by the
supernatural al wrath of Venus with an impure
passion. Her natural modesty struggles in VAIN
against relentless fate, but that IL does struggle
that 'PhedTe" is a hapless woman, victim to
the passions of the gods, Madame Rlstori sets
forth as the fact that Is the soul of the whole
tragedy. Racine herein exactly followed the
plan OF the Greek traecdians, whose purpose
was not 10 develop character, but TO display in
some great passion the iuldlment OF fate.
Madame Ristori is a genuine actress.
Her defamation is good, and in the early aces
there is an effect OF grandeur IN the calm OF her
''Rosmunda," disturbed only by flashes of that
ire within, which in the last act becomes ire
presslble Her way ut coillng round the ncr-
son OF "Romilda," when the dagger has been
drawn, terrible and graceful a. a serpent that
prepares to strike is perfectly conceived. As
an exception to this, we may say IN England,
that the usual Italian way of acting, not with
the hands only, but even with the fingers fails
of effect; and even seems (not that 1t therefore
Isl ungraCetul to q London audience. Like
Madame Rachel, Madame Ristori creates out OF
certain lines, by unexpected gestures and tones,
striking effects, but they are not so intense in
expression, so subtle i'll conception, as the cor
responding efforts OF Ma6ame Rachel.
Madame Ristoris performance of Godoni's
La L0cGndteTG supplies proof, if it were still
needed OF the reality OF her genius for tragedy.
IL is ihevitable that whoever has the qualities
essential TO the genuine presentment OF a tragic
part should be able to present also true
comedy; the greater contains the less. Mere
keenness of everyday observation may make
comedian, but the quick perception, the rare
power OF depicting all emotion, which belongs
10 tie best tragic acting, must belong to comedy
as well, and the tragedlan is also in the best
sense comedian If his art be not merely
trick.
| need not show wherein a concep-
tion OF this kind, carefully and harmohiously
elaborated in every detail, differs from the
Pheore" OF Rachel. In as far as it is the develop
n a Eutp ig nf
chefs the Phedre" OF Racine. As the development
OF character 1t is certainly the most poetcal,
and we think also the most legitimate, deduction
from the words that are to be said. Dramatists
OF Raclnes school never have painted character
with hrin hand in distinct and consistent
touches, They leave always something for the
actor TO create.
Indeed there are several words and
passages in the last act of Adrlenne LecouUreoT
which Madame Ristor delivers with an inten-
sity OF dramatic expression that reminds us OF
the peculiar powers of Rachel. But the whole
spirit in which she acts is different. The quiet
fondness with which the dying girl places her
lovers's head in her lap, the last look of affection
towards him, and of friendship towards the old
prompter as she joins their palms within hers
in one gesture OF prayer, when in the act
death, are in the true manner of an actress al
whose characters are women, and as natural
woman as, in each case, the Qramatist will
suffer her to make them,
ROncOni.
The "Don Giovanni" of Sgnor Ronconi is not
perfectly sung, but differ altogether from those
who do not appreciate it as a piece of acting,
and who sigh for the gentlemanly grace OF Tam
burini. 1t is admitted that Sgnor RonConi, as
( ''Chevreuse," assumes perfectly the dignity and
bearing of the noble chevalier of the Court of
Louis Quatorze; if, therefore, his "Don Clio
yanni" be not an agreeable and pleasant gentle
man, the reason must needs be that Sgnor
Ronconi does not choose to represent him So
A hero who in the last scene OF play or opera
goes down alive into hell before the presence of
the audience, ought, one humbly suggests, to be
shown as something else than a most gentle
manly person in the early scenes. The char
acter which Signor RoncOni imprnts on his
"'Don Giovanni" is one of defiant wickedness.
That is the true character of one who delights
in insulting the weak women whom he has be-
trayed He charms women with the serpents
power of fascination, nOtlWith the noble bearing
4 and the courtesy that are the attributes of
better men. He is wicked and defiant to the
last. Because he remains defiant, the last hope
of rescue from perdition leaves him. 1t is odd
that the same censOrs of the stage who object
4 against Mad'lle Plccolomini that she wins too
much sympathy for the struggle of dissOlute
+ girl to wipe away her STAINS and falter back
4 upon the road TO heaven, should think it fault
in Signor Ronooni that he has not made suffi-
cently debOnnd1re and agreeable the character
OF a licentiO us man who travels with his best
4 speed in the contrary direction.
Mr.. and Mrs. Barney Williams.
There are yet two more American actors to be
named, Mr.. and Mrs. Barney Williams, who
i have achieved success that seems to have es-
tablished them for long time to come as
favorites at the Adelphi. Their sphere is farce.
. Mr.. Barney Williams shines most as an Ameri-
can notion of an Irishman and Mrs. Barney
Williams delights London wit the humors of