Worcester daily spy. [volume] (Worcester [Mass.]) 1850-1888, 1872-09-17

Edwin Booth ia Worcester.
Every person in this community, with capacity
to enjoy and ability TO judge an effort in high
art, must be excited with lively anticipation OF
pleasure at the announcement that the most
eminent actor Of the age is TO appear at the
Worcester theater in two OF his most important
presentations
To see Edwin Booth act is one Of the happy
events of a lifetime; il makes an enduring pie
ture in memory, it illustrates our understanding
Of historical events, it enhances our aPprecia-
ton Of poetry, it is the delight alike of youth
and age, Of culture and Of sensibility. The
plays chosen for the two nights in Worcester are
Hamlet and Richelieu.
OF the fir named, We reed only say that it
is the opinion Of dramatic scholars that the
Hamlet OF Mr. Booth is the noDlest performance
that the stage has seen in our century; 1t is the
true ideal Of the great masters finest work, and
its fame is known wherever the English Ian
guage is spoken.
The drama Of Richelieu, though frequently
performed at the chief theatres Of the larger
cities, is possibly not familiar to many of
those who may desire to see Mr. Booth in it,
and it is for their benefit that we attempt the
following description. l. was written by Lord
Lvtton, then known as Sir Edward BulWer, in
1889; it followed the Lady Of Lyons and several
other similar works, but is the only one OF the
authors dramatic efforts entitled to take high
literary rank, IL is a romantic and Imaginative
play, founded upon historical events, introducing
characters familiar 10 all readers, and embOdy-
ing a story told with simplicity, but in man
ner so vivid that the interest of the spectator is
held as with a spell
The scene is laid in the last half Of the seven
tenth century, when France, under the guild
ance of the Statesman-prieSt, passing from weak
ness and laweSs revolt in the decay Of the leudai
system has become the chief power of Europe.
Every foe acknowledges her supremacy; the
arts quit for her schools the old HcSpcrides, the
Italics, and through all her veins flows in calm
content trade, the health of nations Richelieu
in BulweI's verse, says;
81 found France rent asunder,-
The rich men despOts and the poor bandtti;
Sloth in the mart and sChsm within the temple;
Brawls fostering to rebellion, and weak laws
Rotting away with rust in antique sheathes.
/ have regretted France and from the ashes
OF the old leudal and decrepit carcaSe
Civilization on her luminous wings
Scars, phGuix-like, to Joyep
1t was an age of great progress and vast
chaiges, but spite of the genius OF Richelieu
the old license Of ieudaliSm was rife and in
trigues for power continually menaced the su-
premacy of the cardinal. The king, Louis the
18th, young, weak and proiligate, was led,
through his passions, to unwittingly Join in con-
spracy against his own power as maintained by
stirring events, in picturesque age, Bulwer has
constructed his drama. Spies, court ladies,
monks and other agents, assist the chief charac.
actCrs in carrying out the plot; there is no dull
ness nor delay, the delineation Of character is
clear and lOTCible, the action is strong and rapid
and the language is gowing-frequcntly rising
to the highest regioF OF poetry. The character
of Richecu was originally performed by
MaCready, and has been Il iavOrite part with all
tragedans, but it never found adequate repre-
a,
of Edwin Booth. His representation fully carries
out the authors idea, who has laid the scenes in
the extreme old age Of Rchelieu, representing
him as just, wise, tolerant, and burning with
love and devotion to his ideal France. Weak in
BODY the cardinal is strong in soul, and when
he cannot be the lion, like the Greek Lysander
he plays the crafty fox. While battling cOnspiT-
acies and ruling weak king, REFRESHING turbu-
lent mobiles and governing the nation, he has
kindly sympathies with petty affairs, assists
young lovers and defends the feeble from OPP
preston.
The character thus has magnetic charm to
| an audience and enlists their feelings at every
| point. Booth is especially fitted to enact this
complex and deilcately shaded part. He not
only intellectually assumes the character, but
he seems 10 lOO6 rs the great cardinal must have
looked. His spiritual face and cleaning eye,
with his slender, pricst-ke figure clothed in
ecclesiastical garments, rich as ever Were worn
by Richeheu himself, make Il picture most inter
estng to the student OF history.
The fiery soul which fretted to decay the last
days of the ambitious minister is fully shown
in the intense methed of the actor and the
language the author gives the part is spoken
with an eloquence of voice and manner unsur-
passed in the whole range of dramatic art.
The dresses of all the characters are the same
that were used at Booths theatre two years ago,
when the play was produced with spendor Of
accessories remarkable even there; they are not
only rich and beautifully made, but are historic
ally correct, representing the men and women
of 1850 in the precise costume then worn at the
| French court
In the company supporting MIR. Booth are
| Mr. Bangs, an actor Of great merit and fine per-
| sonal appearance; and Mr.. and Mrs. Pateman.
Mr. Bangs played Marc Antony, last winter, in
| julius Caesar, at Booths theater, and the pre-,
yious season supported Mr.. Fechter, at Niblo's,
| playing very much better than MI Fechter
| The Patemans are English, and thoroughly
| trained artists. The writer had the privilege of
seeing them in a wide range of characters dur
| ing their first season in the United States, at
| New Orleans since then Mrs. Pateman has
been the leading lady at Booths theater, to the
| entire satisfaction Of the audiences. As it has
never before been the good fortune of Worcester
people to see such dramatic company in their
theater, hope they will make the most Of the
occasion, and show MIR. Booth their appreca-
ton Of true art. LEICESTER.