Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1871-02-14
Cslsste's Lssys-TaklHg Of the Stage,

The London Figaro supplies the
following details of Nine. Celeste'5
leave-taking Of the stage: / cannot
make out why Nine. Celeste should
retire from the stage, in full health
and spirits, at the youthful age of
fifty-sixi Why, she can dance a
QGUOte as gracefully as a maiden Of
eighteen, and it is not extravaganza
to say that she possesses all the spirit,
activity and intensity of forty years
ago. But, Of course, there may be
private reasons, which have no right
to approach. Nine. Celeste has led
for many years past a wandering eX-
istence. She has been feted in Ameri-
ca on several occasions, and affection
ately greeted in Australia; and now,
perhaps, she would wish to settle
down quietly, enjoy some Of the re-
pose Of life, and see her beloved stage
from a comfortable stall, instead Of
gazing at the public from behind the
fOOtlights. Last Saturday was a thor
oughly enjoyable night at the Adel-
phi, It was the occasion Of laughter
chasing away tears, and tears getting
the better of laughter. 1t was April
weather in this iavOrite theater.
Now Nine. Celeste appeared and
was welcomed as a friend, now
she was 8pplauded as an artist. 1t
was the same story over again with
Mrs. Kelley, who, to my intense de-
light, reappeared, and gave me the
greatest treat 1 have experienced for
many a long day. Why do these
clever ladies retire ? Why are we not
privileged to enjoy the society of such
an accomplished artist as Mrs.
Kelley? Mrs. Kelley as Betsy Baker
that was the attraction, my friend;
and those who stayed away, who
were too lazy to look after a stall, or
secure a seat even in the tOpmost at
tics, hope, viii not dare TO mention
their iniquity in my presence. This
was acting, indeed-it was all acting.
The eye was fascinated with Mrs.
Keeley-it followed her everywhere,
Every movement, every grimace,
every wink was worth studying. We
had got back to the old days. Here
was an Old-fashiOned farce again, and
Mrs. Kelley in it. Notice also the
power Of an actress-a real artist, l
mean. Take Mrs. Kelley away from
Betsy Baker, and what do you find?
Very ordinary, decent acting; but the
whole thing is inclined to run down
like a clock. Put Mrs. Kelley into
the character Of the facetiOUs young
laundress, and suddenly the farce is
wound up tight. Every one plays
up. Mr.. Walter Gordon sud-
denly gifted with vivaeity, an
activity, and an extra dash
of animal spirits-quite delightful to
behold. He is no longer the ordinary
Haymarket actor. He is the jellne
premier Of old days. Mr.. Rouse says
good bye to the lazy, scamping fashion
of the later nineteenth century acting,
and puts US back twenty or thirty
years. Such is the power Of an artist.
Oh! If our young men and maidens,
old men and children, our fine ladies
and stock people, our Lilly Duvals,
our Blanche MOrtimeTs AMI Kate Bar
fngs. and all our Photographic celebri-
tjesi Oh! IL our elegant young men
Who wear their coats and trousers with
an elegance which makes Mr.. Poole
inclined to clothe them for nothing
il such as these would only watch
artists like Mrs. Kelley, they would
see what acLluE lb duu was an uO1
a crOOner. I am not q mere tdtdGtor
EenpOri5 Gcti; for / know very well
that in the IempUg Gctlga there was q
terrible lot Of rubbish played, and
plenty OF bad actors TO take it in hand;
but, then, do say that we are under
acting, undertaking, undertaking. /
am more than ever persuaded Of this
when ! watch the Teappearance Of
such artists as Mrs. Kelley and Nine.
Celeste. I rub my eyes with as
tonishnent. Their art is 30 very
different to the art Of nowadays.
They are acting; and, for mercy's sake,
tell noe what the great bulk of our sc-
tors and actresses are doing night af-
ter night, day after day, week after
week, year after year. / will tell you.
They are walking through their parts.
The women wear elegant dresses and