The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1873-04-29
A N U S e III E rs.

Mr.. Charles Fechter in "Monte Cristo."
me production OF "Monte Cristo" at the Grand
opera House last night, with Mr.. Charles Fechter
In the leading part. was in many respects the
most brilliant dramatic event OF the season. Con-
sder1ng 1t only as regards numbers, the audience
was one OF the most magnificent assemblages ever
gathered within the walls OF q theatre. 1t is well
known that the Grand Opera House has the largest
auditorium in the country, and when this Is filed
from pit to dome the effect cannot be otherwise
than brilliant. We were assured that fully three
thousand four hundred persons witnessed the
initial performance Of Mr.. Fechter's playa number
that Is simply enormous. The scenery, too, was
very fine, especially the Catalan village, in the
first act; the Cnateau d'If, which closes the
second act, and the conservatory of the Count de
Moncerf in the fourth act. The storm was exceed
ingly realistic, the clouds and lightning making a
stage picture OF singular beauty and the rocks on
which the chateau stands are most effective bit
OF scene painting. But the whole interest OF the
evening, as matter OF course, conferred in the act
Ing OF Mr.. Fechter. His impersonation OF Edmund
Dantes the quasi Count OF Monte Cristo was rep
resentatiOn in which the New York public has long
desired to see him. and expectation or its excel.
lence was at its highest. Mr.. Fechter's appearance
was greeted with great applause, and his call be-
lore the curtain at the end Of the first act was a
warm and hearty tribute to his genius. single
word will describe his aCting-ir was superb
1t Is an unusual thing with us to accord
such unqualifed praise to any one but 1t is justi-
fed by the only defect Of the part 1t is impossible
by any OF the devices OF the stage for Mr.. Fechter
to "look" the character Of Edmund Dantes, In the
opening scene, and yet he compels entire forget
iulness OF this fact by the vivid truth OF his repre-
sentaton. Lie seems not to play-not to '.act."
IN fhn Nvdt
rather than represent, his part His meetings with
Mercedes, his betrotned, with his father and with
M Morei, the owner Of the ship in which he sailed,
were extremely simple and unaffected In the
first he displayed the warmth and ardor
Of the lover, IN the second sincere flial
affection, and, in the third, the respectful
and dignided loyalty and gratitude Of a man
fit to command, whose fitness is recognized
by his employer. Whatever may be the defects OF
Mr.. Fecnter's pronunciation of a language which is
not his vernacular, they are unworthy OF remark
in considering the completeness OF his art. His
voice is fun OF passion, and fails him in the
expression OF his emotions. His face also defines,
with great exactness, the thoughts he utters. 1t
Is possible to read the story OF the piece in mis-
cuuntenance and gestures, which we accept as the
perfection o. dramatic art It Y the possession
so effective. Modern Acting, to be acceptable,
must to great extent, be pantomime.
AAc udy uhb pdsScu W when mere elOCuClOn - even
tolerabie THIS age more readily pardons bad
enQ4ciatlon than an awkward gesture. 1t is i'm
possible to overlook cotOrti0n OF the lace an
ton OF these Mr.. Fechter's art consists. as was
clearly exhibited In the fourth act OF the play last
in the remarkable scenes in the Count de Monceri's
conservatory was electrifying and the audience
showed its appreciation OF his great power by three
recalls when the curtain fell on the act. There was
no effort, apparently. to produce effect, but the
repose, as well as the intensity OF his acting,
one 1t was Mr.. Fachters pantomime so unlike
Fox's and yet rvalling 1t, that made his success.
and as art in harmony with the taste and ideas and
spirit Of the time Miss Lizzie Price's Mercedes,
though the part might make strong companion
picture to MIR. Fechter's Monte Christie, not only
tell UNNECESSARILY below 1t, as II was not unreasOn-
able to expect that it would, but was unequal in
ITSELF Melodrama scarcely requires that passion
should be turned into pathos and this was all that
resulted from the love OF this Mercedes. She has a
good stage Tor every part OF the play except
There Is no sympathy In her voice, and the faults
OF her elocution are not redeemed by the merits of
not without skill, and II she was not brought into
comparison with an actor who shows genius 1t
mediocrity generally obtains. After Fechter Mr.
Charles Leclercq was next IN merit. His Caderouse
was strongly ndividualized creation, showing
perfection OF detail and simplicity OF execution
The character third in merit was, strange to say,
the M. Morel OF Mr. J. w. Jennings. 1t is in itself an
unmpOrtant part. bat Mr.. Jennings developed 1t
with such rare care and skill that 1t shone above
many other parts better suited for holding up the
mirror oil artistic revelation. The NOirter Of Mr..
Charles Wheatlegh, the Albert dc Moncerf OF Mr.. b.
I. Ringgold, the Danglars OF Mr. j. Il. Studley and
the Fernand Of Mr. q H. Rockwell were all very fair
performances, displaying no very striking merits
ana no very 2reat faults. Only one important part
fell below the mean OF excellence which 1t always
ought to attaln-the Vie1ort OF Mr.. D'Orsay ogden.
His efforts at showing perplcxity, fear and the
other conflicting emotions which struggle for
palnlul-hs facial contortions resulting in dark,
gloomy and immovable rightly OF countenance.
Nervousness apparently marred his performance,
and 1t Is possible he may improve alter
the trepidation OF a first night has worn
away. OF the Mile. Dangars OF Miss Josephine
feeble effort OF an amateur, stage-struck than
stage instructed. The minor parts as minor parts
were very wei done and the stage groupings were
estimate Of the acting the scenery and the effects
that the performance was one OF very high merit,
and it will be long remembered by those VINO have
had may have the good fortune to see 1t as q
dramatic triumph scarcely surpassed in the annals
OF the stage.
Niblo's Garden.
The long promised and much Wanted spectacu-
lar pantomime, "Azrael: or, the Magic Charm,n
was presented last evening at Niblo's Garden for
the first time, and failed most decidedly to iii the
measure OF public expectation. The piece en-
braces three acts, comprising dramatic prologue
with six scenes and harlequnade with an almost
indefinite number OF pow ''nats" and taudry sets.
The prologue is supposed TO be the vehicle OF the
pantomime, but 1t Is diflcult indeed to conjure up
the least idea that either Is relevant to the
other or to anything else In the wide, wide world.
SO far there is plot 1t is the old story OF love
making, with invocations by the male rivals OF
alchemists and witches for aid in their respective
suits. There is in this piece preponderance OF
supernatural people, comprising magician,
witch, a good genus and a zamiel, and each one
seems so to surpass the other in potency that
it does not appear quite clear which comes