The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1870-09-22
MUSICAL AND DRAMATIC.

stJu'Ius Csesar'' mt the Academy Of Music.
In spite Of the previous disappointments, large
audience attracted last evening to the Academy
OF Music to see the performance OF Julius Cesar.
This noble play is one OF Shakespeares most
mature works. and 1t is literally capitalization Of
history. No other writer than Shakespeare has ever
gone to the heart of great subject, and within
the limits of five brief acts reproduced an era In
history without crowding his personages and incl
dents, and without emitting anything that is essen
tal In its outlines the tragedy Of Julius Caesar is
wonderfully true to history, and this very fidelity,
while 1t adds greatly to its interest as
a closet play, interferes to some extent with its
effect upon the stage The death of "Casar" is appa-
renty the natural climax OF the tragedy but the
men who assassinated him were no common
intriguants and murderers and 1t was necessary to
carry out the conspiracy to its legitimate conclusion
In the death Of "Brutus' and "Cassius" This pro-
uces the effect Of an anti-climax and yet the last
two acts the that would be least willing
to lose, as they give us the famous quarrel scene
between "Brutus' and "Casslus," with their recon-
eiiation and the melancholy ending OF their careers
and they also to exhibit the characters OF the
two men more clearly than would have been possi-
BILE in the incipency and progress Of the conspi-
racy, and to show how, with such leaders of a
great political revolution, It must of neces-
sity fail. Another reason why the
play is not altogether satisfactory in representa-
ton in the division Of interest between the leading
characters. "Julius Caesar" is the nominal hero, but
,,Brutus" is, with undoubted propriety, made the
most prominent figure. At the same time "Brutus"
is to some extent pass sve instrument In the hands
OF other men, and Cassius" ls the active agent in
the conspiracy. Supplementary to these we have
the figure OF "Marc Antony" delineated in Shake
speare's most mastery manner as the friend
"Cesar," and, with "Octavius," the avenger OF his
death, while at the same time he is playing with
equal boldness and skill game that he hopes will
enable him to grasp caesars" power
The performance of Julius Cesar at the Academy
Of Music last evening, while it lacked some elements
of completeness, was exceptionally good. Mr.. Z. L.
Davenport represented "Brutus" as the gentleman,
scholar and patriot that Shakespeare drew and Mr..
Frank Mayo personaed the fiery and less scrupulous
'Cassius" with much ferce albeit he was at times
overcome by the temptations that the play holds out
for over-declamation. This is a fault that Mr.. Mayo
is not commonly guilty Of and further study of the
part must convince him that his personation will lose
nothing in power by being tri1e more SUBJ
dued in manner. Mr.. McDonough, who assumed
the part of Casoa" at short notice. invested it with
considerable humor, as was fitting and with much
abomnable elocution that is open to extenuation.
Mr.. F. G. Bangs was capable representative of
'Marc Antony" although his elegant delivery of the
Grafton over the body of "Cesar" was artificial
rather than natural. Mr.. Charles Morton gave fair
representation, and Mr.. A. II. Davenport filed the
minor role of "Octavius Caesar" satisfactorily. The
female characters in this play are Of small import
ance, but what "Porta" and "Caphurnia" had to
do was well done by Madame Ponlsi and Miss Josie
OrtOn.