The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-12-31
MUSIC AND THE DRAMA.


"Julius Cnsar'' at Booths Theatre.
or all Shakspeare's plays we know none more
fitting for presentation before the citizens OF free
country than "Julius Cnsar.n The examples which
1t presents OF the highest and nobest devotion to
honor and liberty are such as we should constantly
strive to place before the people In this age when
men are SO apt to be swayed from the pursuit of
the narrow straight road OF virtue 1t is well to
have placed before them in strong and
impressive manner some OF the grand models
OF the past, VINO, holding the good OF the
Commonwealth above all other considerations,
ready to sacrifice even their dearest friends to
the general good. Perhaps in the whole range Of
ancient history we can md no character more
Brutus, who, with no private griefs to avenge and
no envy prompting him, slew the dear friend who
had become dangerous TO liberty that the Roman
republic might be preserved TO succeeding ages. 1t
is no easy task to undertake to present living like
ness OF q man so simple and yet moved and con-
oed by the loftlest and grandest dignity OF which
human nature Is capable, preserving amid scenes
the most trying the frmness and devotion of q
heroic age. The attempt to place before the
American public realistic picture OF old
Rome, though beseg with innumerable diff
culties, has been accomplished with much
success by the management OF Booths Theatre
The character OF the Roman architecture has been
happily introduced into the scenery, while correct.
ness and propriety OF costume give sentiment OF
realism to the taDieaux which can only be attained
by the closest attention to details. The effect Of
some OF the tableaux was marred on the first night
by want OF attention to the groupings and the paucty
in the number OF assistants In the later representa-
tons this FAULT has been corrected and the stage
well flied which gives an air Ofrealism that before
was wanting. Jer0me's great picture, 'La Mort de
Caesar has furnished the hint for the stage arrange
ment in the assassination scene which is by far the
most impressive and natural in the representation.
Although the performance leaves much to be de-
sired 1t possesses many points Of excellence Owing
10 the additions made to the company the charac-
tiers are presented with certain level OF merit that
We do not often meet on the New YORK stage. 1t Is
true that the individual conception does not always
meet our ideas OF an effective or comprehensive
or incompetence In the principal actors, the piece
moves smoothly and effectively. The charm which
belongs to the composition enchalns our attention
ana excites our sympathy to such degree that
II only reasonable amount OF ability
be displayed in the rendering we are apt to lose
sight OF the shortcomings OF the actor the merits
OF the play. Mr.. Booths conception OF Brutus does
not meet our ideas OF that great man, III whom great
moral elevation was comDined with force of char.
acter and intense devotion TO principle. The
popular notion OF the avenger OF liberty makes him
run OF dignity and exalted above the ordinary
ness OF common men, impressing himself not alone
upon the men who surrounded HIM, but even on Tie
age In which he lived This quality is distinctly
to inform us OF the nigh opinion in which his
hero was held In Rome. 1t Is indicated also py
the poet. who makes MIN assume the leadership OF
the conspiracy from the very moment ne becomes q
party to The design. while the promoter OF the plot
sinks 10 a secondary place. Mr.. Booth has missed
the well poised, intense lover OF liberty, the image
OF man not without moral elevation, but some.
sonality are constantly visible in nervous ACTIVITY
poseiul force; Mi: :, booth PROBABLY feels
this and attempts to remedy IL by means
OF his reading, which IS measured, and
In some parts even heavy. He exhausls all the
and White he succeeds TO a very great extent 1t is
st the expense OF naturalness- Excessive study,
spontanety, and we look upon the actor as grace
full piece OF machinery, marvel OF mechanism and
acting appeals more 70 the head than TO the heart,
and Is cold and formal when In repose or rises TO
examples Of both ncnaons IN the pre aene
piece. In the dialogue with Cassius in
inc public square, when the latter moves
and seriousness In me manner scarcely less than
what we notice w,th him after the killing OF Cesar.
Tne interview with the consplraOrs in the garden
is marred BY the abrupt and unnatural manner in
which MIR. Booth breaks away from Casslus to
snake hands with the faction, by which we suppose
he wishes to express the earnestness with which he
enters into their plans. Now, there Is certainly
cIay when ne happens to be one Of his dear TRENDS
to excite such bolsterous enthusiasm in the breast
OF Ia grave ana honorable man VINO IS moved TO
strike not by passion or resentment but simply for
the public good, We must pronounce this incident
unnatural and even repulslve. Brutus tells US
cided to XIII great julius for justice sake,''
and such man would be like to
row. it Is at this moment that the dignity and and
true nobility OF the man should be shown. Shak-
speare understood TINS, and makes him plead for
the lie OF Marc Antony Win generosity of senti-
ment which contrasts very strongly with the un.
dignifed violence with which MI. Booth makes him
htcn "a hn.fs ~ m MIR,
where Caesar falls under the daggers OF the con-
spirators, Mr.. Booth has better realized the char
Here we see him moved oy the contendlng passions
OF love for his friend and zeal for the public good
The nervous excitement, intense though suppressed,
which marks the rendering Oh the scene, suits
well the OCCASION and comes closer TO our
conception OF the scene than any other part OF
the representation. Here we have more of the
sense OF exalted devotion to principle and noble
motive than upon any other occasion. We regret to
say that ON occasions even the leading actors
utter. An example OF this Will be found IN the
''emendation'' which we noticed Mr.. Booth making
say, IL have the same dagger FOR myself when IL
Shall please my country TO need my death.n Tne
1t would SEEM wants to render it more precise,
which piece Of realism materially injares
the force OF the declaration. Whatever faults
may be visible In Mr.. Booths representations there
IS always present evidence OF close study, which,
combined with careful reading, preserves his per-
torrance from medlocrity even when he fails to
move US bis Brutus bears traces OF the usual care
ful study, and is empeished with graceful
action ana proprietv OF speech well suited TO the
dignity OF the character. In the electric power to
move ne Is surpassed by an actor who in every
quality except this one Is his interior. While the
exquisite polish or Mr.. Booths performance passes
almost without notice the rude, sympathetic acting
OF MIR. Bangs as Marc Antony brings down
the house. This actor seekslt TO convey by physical
demonstrations the sense which want OF
the power TO mOdulate his voice. well as want OF
elccutlonary training prevent MN expressing
orally. His rendering OF the speech over the body
OF Caesar Is intensely sympathetic, but. does not dis
play the grace and dignity which we look for in the
character OF tue elegant dissipated Antony. He,
however enters into the spirit OF the character and
paints with great vlgor the more violent passions.
His acting, though rude and tanned with arecLa-