The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-01-11

me promise which Mr.. MacKayo made oil present
ing play which in representation would offer
nothing which could offend the greatest suckJers
for propsiety has been faithfully fulfilled Not one
doubtful word or phrase occurs In the play which
could wound the sensbilites OF the tenderest soul
All the morals are GOOD morals, however well I'LL
conveyed. This Is quality that certainly covers
multitude OF shortcomings and ought to be &C.
cepted as almost plenary satisfaction for the re-
mainder OF the authors Sins. II 1t has ever been
doubted that 1t was possible to construct O play
which would interest without appealing to the
lower passions or depraved, morbid sensipilities,
the question has been SET at rest Not indeed, that
we can look upon "Monaldin as q success, but be-
cause we ind even with Its imperfections and
shortcomings enough to arrest attention and ex-
ssrswsr ~s cc-~4~,os,o~
which, after ALL belong to what might not NJ
appropriately be termed the literary carpentry OF
the plot. IL only remains, then, to obtain q
sufficiently skuful workman who should. from
Just such story, construct logical plot In which
the incidents Will be made 10 follow
In close natural order and In which
the situations will be brought about without having
recourse to clumsy expedients which serve to cast
rdicule ON touching incidents to which they are In
tended to lead up. Had the story OF "MOnaldi' been
the fourteenth century 1t would certainly have pro-
duced q stronger and deeper impression. But tho
auction Of the dierent situations. could not fail to
Dc somewhat ridiculous IN age when the
W Very near to perlecticn and the eject Of
piece depends 30 much on the manage
the 4ns SnS ssrsGs
ton, unfortunately has been lost sight Of to the
detriment OF the new experiment. We regret very
point out some Of the shortcomings, we fully recOg-
nize the many excellences and beauties OF high
order with which the performance Ii replete Only,
as we have been DESTROYS for the change which MIR.
Mackaye wishes to bring about on the American
are likely to interfere with the success OF
q most praisewOrthy enort. 10 substitute real
trayai OF the emotions and passions Of the human
race in such way that the picture would always
Without descending to minister to diseased minds
by the representation OF exciting but doubtful stu
ations orthe introduction 81 dialogue spiced by
those who desire to see the stage exercise Its natural
influence must approve. The story upon which the
Young artist falls in love with the beautiful daug6
ter of patrlcian and finds his love returned. The
lovers marry, and their home becomes paradise
until false friend causes the artist to doubt the
falthfulness OF his wife. cunning scheme Is laid,
enraged husband stabs his wife, and then loses his
reason. Ultimately, through the lnnuence OF ass0-
stored, and The repentance and confession Of the
false friend clears the honor OF MS vile. Inc
aSTe en- sSynf
work out OF which MIR. Durivage has constructed his
81 & aa
Charming IN pure love happily consummated: 1t
possible to 60 further IN the Inn o. e
artist than would have been accepted had theiovel
70 Less snS None
could feel such love as We have depicted;
seems to ,a absorb sE the bnI .na 81
! expression OF his passion sucn love must
In the nature Of things be rare and TO the majority
| pretending IL. From the sublime to the ridiculous
there Is but step, and there IS no situation more
1urs Of an excessive refinement OF the sentimental.
ism OF love. This was evident during the perform.
for ess SO s people
laughing at what they considered an unnatural
se aees Of aoss more
and capable OF inner sympathies. This was. no
doubt, more due to the power Of Mr.: MacKave In
us, once for ali, say that though there are many
situations In the play which ofer scope for acting.
connection or sequence which is absolutely neces
sary to sustain interest in play. The effect Of the
series Of interviews or incidents depends almost
wholly on the art displayed by the actors, and Is
only feebly aided by the story.
From the moment MI. Mackaye entered on this
scene his acing was marked by polish and refine
| ment, but in the first scenes was marred by weak
ness and indecisl0m Of bearing which was rather ~
the llstlessness or the physical debility Of the In
valid, for the same defect marked Mr.. Macksye's
| performance through the piece ut those moments
when ne was not endeavorng TO image some well
marked phase Of emotion. The scene in the second
ish, but the Interview with Rosala, the lady OF his
love was full Of delightful, delicate feeling II was
| scarcely an earthly W00lng; full Oh tenderness
II pictured rather the poetic ideal OF love than the
| realistic passion as the world knows IL. Inc con-
| ceptlon presented was such as we might look Tor
from refined organization wanting IN force. Inc
charm of the performance was In the delicate ap.
probation Of what was tender and elevated III the
situations, well as In the grace and refinement OF
the action. The power OF making the action mar
monize and even express the passing th0ugnt or
emotlOn, was displayed to the fullest extent In the
| interylew with his wife after his suspicious are
| aroused and In the mad scenes. Here AT, Mackaye
ylnd1cated his science cutting h1mseH loose iroln
the weakness and over.refned sentmentaIism Wnicn
char aCterized his p0rtrayal or the tenuereI
Tie relation Of the story to his VIE OF hatos oeaIu
| was perhaps the most merltorl0us part OF the per
tsted by the terrible passion OF jealousy success
| siyely found expression by look and gesture. Rea
dramatic mower OF the highest order was developed
| at this point which proved that the shortcomings
| AZ Mr. Mackaye arc due to want OF experience
rather than to any want OF power. There can b.
and the development OF q more equally distributed
force in the pers0nation win enable Mr.. hackay
| TO make q complete success OF Miss 0riswold w
| have already expressed our opinion that she Il
| full of promise Her personati0n OF Rosalia wa
full OF artless, gentle womanly feeling, combine,
livery. The only other character that calls Ior nc
tice Is Madwin, the villain and We can say nothing
favorable of Mr.. Davenp0rrs representation. Il
certainly walks about the stage with easy conn
dence, but seems unable 10 seize any OF the deicat
shades Of relation In his role. For an Italian poe
we think him wanting In the rehnement-or,
least, polish-whlch we naturally look for In n
profession COull he not try 70 be somewhat lei
boorish, with more Of the subtle deviltry OF III
| character