The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1873-04-01
Am sem E N rs.


the Prairie" ct Mblo's was accomplished last night
without accident. A densely crowded house greeted
tie heroes OF the drama and these were also the
genuine heroes OF many ieat on the Western
eratries q piquancy and interest were given to
their appearance seldom felt upon the appearance
OF real actors. The drama, OF which we understand
Ned Buutline Is the author, is about everything In
general and nothing in particular. Every act ends
with hight between the scouts and the Indians
the nrst act being still further embelshed by
Characteristic war dance. The Indians, as well as
tho scouts, are the genuine article The real hero
or INC piece Is Gale burg, the part represented by
~ Ned Buntline, the American Bulwer. Mr.. Judson
NO6herwise Buntne) represents the part as badly as
- IL possible for any human being to represent
Il and the part Is az bad as 1t was possible 10 make
=. The Hon. William F. Cody, otherwise sBunaio
Of the Eastern cities '.Bison William is good
looking fellow, tall ana straight as an arrow DaI
Maule, we believe, IL Omohundr0, is not quite SO
gOod-lookng, not so tall, not SO stralgnt anu nv
90 ridiculous. Mile. Morlacchi, as Dove Eye, 10 OILY
IN Asipid forest maiden but the worst actor OF the
lot Is Senorita Carana, the representative y, naAel
Eye, young white woman VINO Is very Iaii. very
straight and very virtuous. She 10 worse even,
than Ned Buntline, and he is simply maunder-
ing imbecility. Her first appearance Is ludicrous
beyond the 20 wer OF description, more ludlcrous,
even, than Ned Buntline's temperance address
In the forest. To describe the play and its recep-
alon is alike impossible. The applause savored OF
sderision. and the derision Of applause. Every
thing was SO wonderfully bad that 1t was almost
good The whole performance was SO far outside
or human experience, 80 wonderful in Its daring
leebeness that no ordinary intellect Is capable OF
c0mprehending it-that no ordinary mortal can
dfscussit at any length with good taste and good
temper. Buffalo Bill was called before the curtain
ut the end OF the nrst act, when he made speech
at wt erce Us by Sed
Bunrine, called "The Broken Bank, !" probably the
worst ever written, and certainly the worst acted
atrocity ever seen ON any stage.
Y
Brooklyn Thcatre-dr. Wallnck I'm Rose
dale.
The Brooklyn public have, during the whole Of
hast week. been afforded an opportunity OF witness
ing, at Mrs. Conway's Theatre, Mr. Wallack's adj
mirable presentation OF Elliot Gray, in his own
charming drama Of "Rosedale." Every night,
despite bad weather, the house has been crowded
In every part and hundreds, ladies included, have
been compelled to stand during the entire evening.
Many popular plays from time to time offered
to the public and receive cordial greeting, but per-
haps, with the sole exception of Mr.. Jefierson's
"Trip Van Wrinkle, no modern play has such firm
hold upon the attention OF an audience or
30 admirably presents the varied passions
and emotions absolutely necessary to make
Q successful drama. Added to this excellence OF
material there is the personal charm OF the au-
thOrs acting. 1t would De trite and tiresome to
speak Of the plot Of "Rosedale" at this time, and
therefore auslon to the one part seems proper and
dences Of what an actor can himself create for q
dramatic portrait, when he 1.-THE actor Is himself
~ hs ss p S s sns w PHmef the ra
seDablance the light-hearted soldier bears to the
type in the real world. He wears the
'dress, speaks and walks as do the men
who fill the pages of our own times with
history. There is nothing in the whole range
.tle Of the day." for the very naturalnesss Of
look and action which we expect in the por-
ira are the more trying when placed behind
many artifcialities OF the stage. None but
thoroughly finished artist can hope for excellence
under control, would become Of undue prOmi-
.Nence and would sadly mar the realism intended.
WALLACE as vas There is in a0 his acting every
thing that is truthful and engaging, with just
enough OF that colorlng OF romance which removes
1t from the fault of common place. We all like to
see ourselves as we are, bat we do not dislike to
see our best points improved, and that is why all
who love the drama admire performance by men
OF Mr.. Wallack,s quick and appreciative talent.
The difference between photograph and portrait
by Reynolds, Lawrence, narlow or Elliott Is not
talent draws and the one eliminated by the brain
power OF thorough artist. The photograph and
tine individual, only the portrait shows the
mlRd OF the sitter through the handiwork
Mr. WaIlack's drama OF "Rosedaie . the part he as
eumes SUITS IN every particular his power OF rem
dition, and 1t is patent to all that the varied cha
racterlstics form one perfect whole In Elliot Cray,
Mr.. Wallack has been admirably supported, and
Mrs. Conway has done all in her power TO make the
surroundings worthy OF the occasion. SO great had
been the enthusiasm OF the patrons of Mrs. Con-
ways theatre, that prolonged stay became
me- nsriSrms I VIII be- Homen 1.-THE captan
Of the Watch" and "Ours."
Steinway Hall-Rubinstein's Ocean
symphony.
Since Carl Bergman, in 1857, first introduced
the grandest work OF the Russian pianist and
he VNrk tho IN
Assembly Rooms, on Broadway, until the visit OF
Rubinsten and the production OF the work under
his own direction, with such superb materials as
the orchestra of Theodore Thomas, we can only
call to mind one performance OF IL here, by the
Philharmonic Society, o few seasons ago. Here Is
n work by a modern composer which challenges
admiration for Its fertility OF ideas, even II they
prove occasionally transplanted ones inteligibility
OF purpose and wonderful yet always legitimately
nsed power OF Instrumentation. This work has
been laid on the shelf year after year by our
conductors, while the sensational Berlioz
Wagner and Iiszt have been thrust
forward in spite OF all circumstances.
Whatever eccentrtcities Rubnstein may indulge In
ne never wanders beyond the limits OF true art.
What though the "reminiscences OF elder composers
shat are scattered through the ocean" symphony
sometimes approach. and once or twice transgress
the bounds Of sheer plagiarism, yet the work does
not soontain one duh uninteresting bar and there
% real vitality in every movement. No one will
be Willing 10 take away the claims OF entire Origt-
nality in the "Faust' symphonic works OF Berlioz,
Wagner or Liszt, but listening TO such works makes
the heaxer wish for clever plagiarism or adapta-
ton OF sublime ideas rather than senseless,
iaAotic originality. Where Weber and beethoven
are pressed into service by Rabinstein they do
their work faithfully and the adaptor knows how
70 use them to the best possible advantage.
The ocean symphony Is IN six .mOyements-due-
pro n1uest0s0 dddgLo sclaprz0 dnGasste allegro con
fAOco and Raale There Is no formal Introduction
In the opening movement Rubtnsfeln believes
with Horace In plungIng IN naedt0S res. Ihere ID
nothing OF the 'sArma, virumque canc'' abont his
nrst themes. HIS remarkable powersof instrument
ration, in which he weds grandeur TO beauty, Is
felt from the first phrase. At the same time there
is nc departure from established forms beyond the
original and constantly varying treatment OF