New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1872-03-21
Emmett.

Another large and appreciative audience
gathered within the walls of the st. Chal les
last evening to witness the third represen
tation of Carl, the Musician" with j. X
Emmett as Carl.
Emmett has made his reputation as an
actor in Charles Gatlord's drama of
Fritz Almost every theatregoer has
seen him, and it would be useless to eulo-
gize his characteristics.
In the drama of Fritz 1t is a moral i'm
possibility to judge whether Emmet con-
tains any genius or not. The plot is so
extremely sensational that it is amusing
and coupled with the chief attrac ton, his
songs, it would be folly to attempt to criti-
else the piece, but suffice it to say that
Emmet's acting does not make the piece,
but his songs and dances, together with his
droll and irresistible manner of rendering
them. Such is the character of Fri,- it
does not give to the auditor any definite
idea as to his ability. But in Carl such
suppositions vanish, and Emmet appears in
a new and decidedly improved role
Carl is an emotional drama. 1t does
not give the slightest chance to introduce
any Of the witticisms that have so char
acterzed Emmett in his specialties, but on
the contrary, it requires all the power of
emotion that an actor can command
Now, there are but few people who believe
that he has this power. His songs and
dances. at which SO many have laughed,
have created an impression that he is,
technically, "a song and dance man."
Now, to remove such impressions, we
would advise all who are so impressed to
witness his representation of Carl.
In this piece he exhibits his idea o. emo
ton. His search for his sister, which. to
quote, he will neber, neber see again." is
depicted to nature. Not that Mr.. Emmett is
perfect in this character; for it contains
passages which reveal the capacity for a
lottier development, wider and grander
culture, Which to delineate to life will re-
quire many months of hard and continuous
study-then, and not until then, will Jet.er-
son have a rival in Cnrl, and when this is
accomplished Rip ran 'Vinhle will fall com
pletely in the shade alongside of Cart.
ticut and the best piece of acting. The OBJ
ject of his long search is obtained. and he is
the happy possessor of a beautiful sister
This act contains scenes similar TO :" Rip
Van Winkle." The recognition is d wonder
inl piece OF acting. His broken Teutonc
dialect, articulated pathetically, inclines
one to smile at the poor Dutchman's en-
deavors to convince Dora that he is her
brudder,' but when he sings his exquisite
lullaby, which is couched in such beauti-
tifully expressive language, and arranged
to charming music, he wins the hearts
OF the entire audience, and they go heart
and soul with him throughout the entire
performance. Never was there such an ex-
cellent representation of the heart broken
brother. Never was natures mirror held
up to the gaze of an audience before as this
scene depicts. The impassioned strains,
the eloquence of his songs, the delicate TO-
nance is charming in the highest accept
ance of the term.
Emmett, Young, ambitious and energetic,
has within his grasp a fortune if he chooses
TO accept it, His success in Carl is not
SO tiattering as that Of Fritz" but 1t takes
time to accomplish all things. The drama
IS susceptible of much Improvement. The
second act is almost entirely out of place,
and could be placed 70 more advantage III
the last. But Charles Gay lord, with his
usual egotstical manner, wrote Carl for
himself and not for Emmett and now it re-
mains for Emmett to reconstruct, remodel
and revise the piece so as to make it accept
able to the public. 1t must be remembered
that Carl" Is play that can be witnessed
more than once, and with Emmett as its re-
it can be made as popular and
as good standard drama as rip Van
Winkle.'