The New Orleans crescent. [volume] (New Orleans, La.) 1866-1869, 1869-04-04

TIA original text, ere considerable. Many words
and peeea1es are of course cut ont - unsoIteo ~
modern taste and propriety: Bot IN snn vsY
In tea "A Of being carried into the monument; eno
tbe play closes with Juliet's death. the somewhat
proey nticlimax Of the appearance ana mouFs'
Ing Of the Montagues and Capulets beng omItsSo'
There are other excisons, too " 0sner sasn "a
balcony scene IL delightfully."- natural. and n ne
birhest degree effective and interesting. n p
customary after Romeo gets to the Capu!ees' gar
den to play the busnees right on without intenup.
vsll, which, by the way. he does gracefully and
with great ease, sliehting on the coping Of bal
ustrsde, whence be springs to the ground and zee
down on the edge Of . parterre under shade o.
laurel myrtle su,n psra no %bo
Booth. (by "pretty yea and nay" Of counsel
thought him particularly awkward In this same
climbing feat. The stage u arranged with an
Italian garden, raised terrace, arceoe1. ana :
grand fortified and turretsd palace in The back.
ground. Juliet appears on the balcony Of her
house, Q large roomy piazss, with two or three
foors-pot the little iron grating Of poorly proper
tied houses, that might serve for wasnerwomanp
flower pots. He tells the story Of bis heart HIM
self and the moon-Juliet appears. and % = we're,
meditating aloud. declares her love, which he,
overhesring, shows himself. When the nurse
calls he runs under the ground arches OF the
the old woman. She roturns. Ho re-sppsars: The
nurse calls again. Again she goes back and hides.
Then fearing for his safety she bids him good bye.
There is no old fashioned climbing 70 her balcony.
Her most delicate bit Of acting was in her madenly
doubt whether she had not been premature In
Glowing ere yet she knew herself beloved" She
does not kiss him, but ct &c thousand times good
night" kisses her hand with charming grace and
demonstration Of passion. He leaves and retreats,
goes over the vsl-softy. noisslessly. Unable
10 resist her love she returns. Hist, Romeo ]"
Though far away. his ears catch the breath Of her
lips and he 70 ascends. leaps down again into the
enchanted garden until after parting il 90 sweet
q SORROW she kisses good bye again and again
and fits away. He goes, slowly reluctantly, yet
goes. She comes back once more, but al y
silent. The situation rests for moment; We are
all in deep silence, but the scene changes and We
breathe again. This business. and indeed, the
whole business Of the play, Is perfect-nothing
omitted, nothing too much.
Mrs Mevicker is Of small stature, and has slight
pretensions to the Juliet beauty. But Garrick
was short and fat, and acted in court dress and
bag wig; yet as Macbeth. Richard or Shy
lock, he 20 fascinated his audience that they for
got the external accidents, and saw only the re-
allied ideal. The sgony OF woe or the eestaSy o.
not good. Her best BIT was the half impatient,
half coaxing scene with her nurse, when that
elderly female reports the interviews with Romeo.
and frets her young charge By the complaints Of
know Romeo's reply. She is also good In her de
nunciation of the old woman's base timeserving
after Romeos Observation-Disclosures be thy
tongue" etc.. But It Is all elocution and decla.
n ation-not whrlwind passion, carrying herself
and her hearers along in It's Irresistible power.
Fanny Morant's nurse was the best performed
character in the piece. That very vivacious wo.
man of the world shows how easily the true artist
can grasp the most opposite styles, and makes her
earrulous. incoasequent old woman ss effective a.
her modern Resticuls,ing French miliiner.
The costumes are In admirable taste and CON-
pleteness. The tieht-ftting hose and brilliantly
coortd juste c0rTs of the men. with the forked
berreita cap of Raphael d'UrhiDos age, is an
elegsnt costume and in great variety Of color and
appointment. The ladies' flowing robes are also
perfect both as to the style of the period and ROB
coloring. The scenery is grand and massive. all
architectural in design-broad porticoes. lofty
thrown by the calcium light make most pic
lures que effect, especially in contrast with the
rich coloriDg and airness Of the costumes. Every
scene Is . picture. and ell in harmony. No in
congruous mixtures of fashions aud epochs, like
fancy dress ball-warriors Of the Crusades making
love to court beauties of 1869. and their noses put
out Of joint by Romulus and Remus.
| Mr.. Adams did Me.cutio with great life and
spriehtliness, but dissgreesbe habit Of drawing
deep at the end of spos.rophe mars the
| effect of his delivery. His action is remarkably
| energetic and life-like.
The theater isselfi s the most commodiously ar.
ranged have ever sat In on either side OF the At
IsDtics The appointments are excellent. the deco
rstions massive and free from frippery or
| tavdry color and tiDsel. The exits are the best
| In New York, but there IL yet room for improve
meDt for those from the upper circles which
| command only one slsircase--a grave defect in
case Of Ere. Your Toulouse street house is dis
grace in that respect to the city authortiss The
house Is unique In its power of conveying sound
q stage whisper may be heard from the back Of
IL q stage to the outermost seats.
Talking Of shakspesrisn drama, John ,Brough-
ans burIesque Shylock is good enough fsr the
real thing. The "Ttmpest" Is IN preparation at
Pixies, with f. L. Davenport as Prospero. Bot
where il my dainty Ariels The Tempest" Is .
Glow piece, one Of the LATEST In Shakespeare Q
list. and the chief work devolves on Prospero,
which Mr.. Davenport will do sufficiently well.
And II the music and scenery be good, and CALI
ban ugly and sstyr.like enough, IL will have q
short run. Miranda rs piece OF trusting inno-
cepce that may be played by any lady who caa
look It, far, very far removed from Juliet BESIDE.
mOna or 0Dhea "OCC aaIONAL.v