New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1873-01-04
Lawrence Barrel, as Richelieu.

Richelieu upon French civilization, and in
deed upon the age in which he lived. He
blended in successful contrast the greatest
achievements, through agencies apparently
inadequate, and q foresight igenuots and
remarkable. By means disreputable, if not
gnoble, he stifed conspiracies, wrought
the humiliation Of rival states, checked the
encroachments of Austria, stirred Spain to
dissension. and gave the final blow TO that
the prosperity of Europe.
In these manifold and dazzling achieve
ments the character of Richeliea appears
in two-fOld aspect. If crafty and I'M
scrupulous, he was just. He lived in an
age of iron. License and intrigue ran riot
through the land. The subtlest inventions
of the minister, the statesman and priest
were Intellectual barriers to lawlessness fald
crime. If the inexorable ruler of his
country, he was none the less her bene-
factor. 4 relentless Nemesis to crime, he
was quick to recognize merit and applaud
whatever Of good was rarely found in age
of evil.
These apparently contradictory traits of
character make the proper representation
of Richelteu difficulty, if not an impossible
task. Still i is a favorite character with
the modern artist. Essentially test Of
merit, many of those who essay it imagine
they have revealed a chef G0urre in art,
when in reality they have only succeeded
in stamping with broad caricature grand
emanation of genius.
Only study and culture can appreciate
the character. Mediocrity can not under
stand it, much less can ignorance and sl0th
rise to the grand height which the world
has given to it's estimate OF RichelieW As
readily might the hind affect the attain
ments Of the scholar.
The artist, therefore, who plays the cha
racter Of Richelieu must bring to his aid a
thorough acquaintance with the history Of
the times in which Ricaelieu lived, as well
as those incidents from which the drama
borrows some of it's most inspiring episodes
The drama itself is a concentration of his
torical events. 1t is dependent upon no
single era for its passionate interest. With
the remarkable career OF Richc!ieu is min
gled in poetic license the conspiracy of
Bouillon and the perfdious apOstacy of
Cling Mars. Indeed, from the latter ro-
nance is fashioned the intrigue of De Mao
pat and Julic.
The very few American artists who have
acquired distinction in the character OF
Richeiieu have been men of ca ,ture and re-
tinement. OF this class is Mr.. Barrett.
His representation last night was both
classical and lifelike-classical because it
preserved il remarkable degree the pc
culiarities which only culture can impart
and ifeiike because it was natural, and adj
hered with underwriting consistency tc those
common characteristics of humanity es-
sential in the development OF any character,
high or low. Mr.. Barrett does not forget
that a hero is but man. He acts speaks
and thinks Ike ordinary human beings.
To be great and remarkable il is not es-
sential that the organs Of speech, the mold
of the body, the daily life, the
loves and passions of existence should
'C -n1lAtL1C G@LStl az lt-t@t t-uNL
impossible standard. There was no mock
,heroics in the character Of R;cteiieu, and
there should be none in his representative.
Of this Mr. Barrett IS fully aware, and
while his Interpretation OF the character cf
the great French premier abounds in saga
cious impulse, revealing quick, subtle,
almost magical intellect, the natural man
is not contrasted with the rest Of humanity.
II is 6Ie intellectual phenomenon that i'm
PAL Is it9Grest to the character Of Richciies
but accessories II tie development OF his
career-the adjunct OF his fame; not the
stimulating and controlling causes which
made his character az ellipsis in greatness.
sagacity and success. Il was this chan
acterIs tic-this fact indeed-whiCh shOne
most prominently in Mr. Barrett's sepre-
sentation. True, the adjunc is of the stag,
the constituents of the drama, helped
the v;vidness OF the portrayal, but
the GROW ming success OF the play
was solely dependent on the admirable de
ineation OF the principal character. 1t VIII
be remembered that the play reveals Richie
lien in a two-fold capacity-in his social
life and as statesman. The sternness of
the one is softened by the gentle and hui
manning influences that distinguish the
other. His love for Jltlie constitutes the sole
oasis in the rugged desert Of his career. 1t
is like radiant dream shining through the
dark nightmare of life. The episodes in
which this love appears, are rendered by
Mr.. Barrett with great felicity; they con-
trast the strength, almost repellant Do yer,
with which the politician is defined. Each
element OF character, if we may he permit
ted the expression. IS fully developed,
neither dependent on the other for effect,
but each in Itself a perlecs and completed
picture.
Mr.. Barrett was greatly assisted IN his
portrayal By the Varieties admirable stock
company. The characters OF De BmroJoS
and Jtlie were both finely rendered, and
contributed in 90 inconsiderable degree to
the pleasure 0S the entertainment. We re-
gree we can not say as much OF De Moupat
In closing our brief review OF this per
tormancGs we are reminded of q remark Of
the lamented Forrest on the occasion Of his
last pertOrmaDce9of Richelicu in this city
something over year ago. He was com
plimented by friend upon the excellence
of lis representation. Not So said he
u am too old, and never rightly Unler
stood the character. There is bat one
Richejtct il America"
Aud that Is =" inquired his friend.
Lawrence Barrett :" was the reply.
Forrest was right.
SppHThT NOpTHEC