New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1874-05-15
THE DRAMA.
UNION SQUARE THEATER.
CAMILLE-MISS CLARA MORRIs.

paihteo ny Mr. MarstoD. and rich variety OF we1-
chosen music, feenSlY played by Mr. Tissington's
band, invested the performance with the charms OF
pleasing color and dulcet sound The drama had been
cast with admirable discretion. the
or IL was exceptionally smooth and very enes-
tive. Tho theatcr was crowded. and the con-
course included many persons Of marked talent high
station and local ropute that well described az
remarkably brilliant The motive that assembled thia
crowd curiosity TO Miss Clara Morris in the part
that Matilda Heron made famous nearly twenty years
ago. The incidents OF the OCCASION accordingly.
prised for Miss Morris, very welcome and seye
raj calls before the curtain. Back OF curiosity
stands interesti and, however much critical sta.
dents may differ in estimating the quality
or defining the charm OF Miss Morriss
talents and temperament, the fact is manifest and in
cOntostbe that she has deeply interested this public.
The who to observe came likewise 10 admire:
and for this popular lady the occasion Of effect
i've magnetism re warded with bounteous public recog
nition-and occasion OF She did
indeed, eclipse the Matilda Heron OF other days-wth
whom she Is not to be compared IN wild vigor OF ina
gnation depth OF tragic emotion sOuolt knowledge OF
sin aud misery, or capacity TO depict the struggles
passionate nature torn by the contendng forces OF
good evil. She did not. in other words make her
se,fas Matilda Heron used to in CdDiAean actual
type Of the agonzed outcas struggling in the deathess
meshes ana faDgs OF sin, and moving to tragic and
awful doom under the steady pressure OF ineKora6la
moral laws She was not o ruined woman, but comely
girl playing ruin. The embodiment she presented.
though was near enough reality to oil and satisfy an
ideal quite pretty and romantic as her own,
and therein she had a sufficient stage triumph. Few
persons In the multitude that throngs after such plays
as Camille" know what real misery is: those VINO DO
not are easily moved by fictitious wocs anda strangely
fair creature Miss Morris, impetuous aud fnii
OF tremulous sensibty, cannot even seem to suffer
without disting thom almost 10 Jelly WIN
the act Of grief They appeared to enjoy their
woe very much, last night, and the watery waste OF
unlimited pocket ndkerchief ought surely TO be noted
among the incidents or the evening. Many an immacu
late cambria despoiled; many lace was made TO
anguish; many a frigld linen grew limp with lamen-
tation; and therefor, though little else OF great
moment was accomplished by this lachrymose effort.
the Victory over starch may be get down signal aud
complete.
"Camie" Is play that ought TO have disappeared
when Miss Heron withdrew from the stage No ono
who has acted heroine since her time has displayed
anything like her genius in the character or has really
seemed to be in earnest in all parts OF it and no one.
accordingly has made 1t effective as she did upon TIC
intellectual esteem of the public. Besides In her
case tho extraordinary nature OF the woman 70
some extent redeemed the play-dlVertihs notice
from the tainted quality Of the subject bY
an amazing aud thrilling manifestation OF emotional
power In the circumstances OF its present recurrence
there ia nothing vail the shameful attributes OF tho
work or deaden its odor. All the parts are just
sufficiently well played to give the drama clear mani
festation. Miss Morris, 1t Is true, is singary hand'
some and winning and in the parting scene IN act thrd
as pretty type ever was seen OF pathetic de'o'
ton trying to be merry; and throughout ina
performance she concentrates great deal OF
pleased attention upon her golden youth
and passionate enthusiasm, the delcate inIulUona
Of meaning that trembe through her tones and the
wdness Of sudden emotion that flashes from her eyes.
Ard Stuart Robson delineates good-natured fidelity
with very tender and quaint earnesness and literal
and convincing truth. Other merits might be rehearsed
such the mauly passion Of Mr. Thorne, the dignity
of Mr.. Parsee, the joity Of Miss Mestayer the grace
Of Miss Kate Claxton, the nimble vaor Of Mr. Mckee
Rankin. But It is matter OF course that
trained actors will be correct in their points
OF business, Just as trained writer's will 10
correct in Of and colon. And all aggre-
gated these merits only TO make moro conspicu'
the veness OF the topic which so much talent.
TASTE and money have been employed. At Tmon's ban
quet the dishes held At this Union Square feast
the plate gters just the same while the Wanda worss
than unsubstantla are foetd with vice.
Camille was French courtesan endowed with great
beauty and afflicted with remOrse and pulmonary dis
ease. Armand Dlcai was spoony young gentleman
who fell in love with Camille, and her affections.
The two retired suburban cottage where for time
they dwet the bliss OF bucolic eroticism. BY and by
Armands father, solidy unappreciative OF love and
tuberces, dropped IN with the request that CdmiHs
would disappear, and in such way as
to ALLEVIATE and disenchant his infatuated son. The
unfortunate woman clear in her OF right,
sented to this and did it, armand however. not to
be cured in this way. He first fell into a sickness
orthodox In such He then got well and went IN
quest OF his dOXe. When he found her HIS conduct
violent. He called her number Of bad names threw
lot OF gold pieces her head and smoe at the snout
OF her newly-chosen paramour-whom then he per-
forated but did not kill in the ensuing duel.
Camille then sunk into sickness and extreme poverty,
coughed q great deal, and expired-but not before
Arp0nd had arrived at her bedside, and
changed with her the pledge Of young affection. That
Is substantially the story Of the drama and there
is argument necessary to show that it is story
scarce fit to be told aud wholly unht to be publicly
illustrated.
1t French doctrine Of dramatic art that any
ject is suitable Tor the basis OF play that can be made
to yield dramatic effect, and that regard need
he given to moral quality influence. To some extent
the doctrine Is good-snce work OF art should ever
obrude moral. 1t is 10 be noted though that certain
subjects can never be touched without didacticIsm
OF some sort, and that they are
touched without 1t, in the viest or
French plays. Camille" which is the worst good play
OF the whole Gallo brood that has been Matched in this
region, touches the subject OF prostitution; and thisD
a subject that nobody treat in any FORM wthoutS
moral drift In Camille" the moral drift Is mixed
Read way, it is warning against harotry-just AZ
"The Stranger" ia warning against adultery. Read
another wayand this Is taking II IN practice was
intended to be taken-it is the assertion thst
a courtesan may be OF the noblest Of women; and
that when such woman reforms she is entitled to .
place IN vrtuous society," level with all good
womep as wife and mother The opportunity OF assert
ing this indeed, by making Camille decline pspas pro-
posal, in the third act, is not improved: bus
the implication Of 1t is clear "a day, In tho
steady portrayal OF this heroine as an injured
angel with whom, throughout We are called upon to
syppathize and over whom, at last, required To
sav AS we drop the tear OF pity and wipe the OF