The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1871-01-17
MUSICAL ANB DRAMATIC.
"Thc wifo', at the Chosnut.

The Wife" Mt the Chestnut.
Ihere is not one of James Sheridan Kno Sles'
dramas that does not bear the impress of genius
and his best works have very few superlors
among the plays that keep possession OF the
stage. Among the best is the very beautiful
drama of The Wife which was played last
night, amid much applause at the Chesnut; for
although 1t is not equal to The Huachback, it
possesses remarkable merits and belongs to q
class of works the writing of which almost APP
pears to be lost art. Knowles admiration for
the El zahethan dramatists often led him into the
error of attempting an imitation of their lite
rary style. limitations by an immutable law
of art are invariably inferior to their
originals, and the language of Knowles plays is
frequently forced and marked by such violent
involutions as to make them exceedingly diff
cult for the actors to study, while some Of his
scenes, particularly his comic ones, are scarcely
more than burlesques of Shakespeares style.
Knowles, however, was of real ability
and he was, moreover, thoroughly conscien-
tious worker. His very faults grew out of an
earnest desire to produce really good work, aud
his plays, with all their faults, are indsputably
the best that have been produced during the
present century by any English writer The
plot of The Wife is sufficiently removed from
the probabilities of everyday life to lift it into
Y the region of romance, and as 1t Is poetical In
Its conception so is it admirable in dramatic
treatment Although not acted as frequently
as some other plays, 1t is deservedy favorlte
both with the actors and the public, and when
1t is well acted 1t is most excellent entertain
y ment.
II We are pleased at being able to bestow very
hearty praise upon the performance of this play
I at the Chestnut last evening. All the leading
y characters were we'll represented, and the occa-
sion Vaa mada additionally intn hv thp
N appearance of Mrs E. L. Davenport in the role
of Mariana" This lady has not played in this
city for number of years, but she Is well re-
membered by many of our citizens as an actress
of great merit, and she proved conclusively last
evening that she has during her retirement lost
|. none of her powers. Her mariana" was
chaste, beautiful, and most affecting perform
\ ance. 1t commenced upon low key and IN
4 creased In intensity and force as the drama pro-
Y gressed, every scene and every point being Ella
borated with fine art that could only proceed
4 from thorough culture as we'll as great natural
abilities. 1t was impressive without being dis
4 figured by any straining for mere effect, the
4 actress being so sure of her powers, and her
Aartistic method so true, that she was able to
give an air of vivid reality to tue different
scenes without the apparent consciousness Of
an effort.
Mr.. Davenport's personation of 'Julan st.
Pierre" was also O most admirable piece OF act
ling 1t was true to nature and to poetry, and
Nit realized the true end and aim ofhigh dramatic
Fart by makingthe audience forget the actor in
! the part he is representing. Mr.. Davenport
and his wife are artists of the same school, and
! we say unhesitatingly that it is the best school
a with which the public of the present day are
acquainted, and our play-goers may expect to
kSee series of entertainments at the Chesnut
during the present season, with Mr.. ald Mrs.
Davenport at the head of a company that con-
Lains some fine talent, that will most certainly
be enjoyed and remembered with plea
sure. The other parts in the play
last evening were for the most part well repre-
sented, Mr. Thorne giving an earnest and spi-
rited personation of 'Leonardo Gonzales" and
Mr.. Nagle effective but somewhat exagge-
rated filling out of the character of "Ferrardo
NGonzales." This last-named gentleman has fine
talents and he will mako a frst-rats "heavy"
man when he gets rid of disposition for mere
melodramatic acting and acquires a refinement
of style that he does not now possess, and
which he cannot acquire better or quicker than
by taking few lessons of his manager, than
kwhom no actor upon the stage understands bet
ter the distinction between eyaggeration and
U real force.