The New Orleans bulletin. [volume] (New Orleans [La.]) 1874-1876, 1875-09-12
RICHELIEU.
pact noachir

The selection of Richelieu by the Garrick Club
for its closing performance of the season caused
quite little flutter Of excitement among oul
amateurs and their friends. and discussions as tc
MIR. Onorato's success were frequent. The play
has been performed here by many of our most
eminent professional actors, and one OF our lead
ing amateurs has already made quite name fol
himself as an amateur actor by his admirable
rendition of this great character. Under these
circumstances many persons thought Mr.. Ono-
ratio quite bold when he expressed his Willingness
to assume the part, and some went so far as to
predict complete failure.
The house was crowded with an elegant and
select audience, who, despite the intense heat,
were evidently eager to witness the perform
aDce, and their interest was manifested through
out by we-timed and judicous applause. The
interest was principally felt in the acting of Mr.
| Onorato, and from his entree to the fall of the
curtain he received the most deferential atten-
| ton of his auditors.
| 1t was predicted Of Mr.. Onorato, that he would
be too boisterous throughout, and many said his
rantng would kill his acting. 1t was urged by
others that he had not the faculty of saving his
voice for the scenes requiring its force These
reports served greatly to embarrass the actor,
and in truth caused him to be rather weak in
scenes where force is needed; having the power.
he seemed afraid to use it, lest he might give
credit to the expressed belief that he would
overdo those scenes.
Particularly was this noticeable in the great
curse scene in the fourth act Mr.. Onorato was
evidently holding back his voice purposely, when
he should have given it its entire volume and
force; not only was this the case in the delivery
OF the curse, but in the whole dialogue between
himself and Baradas. But if Mr. Onorato was
weakest in these scenes he was strongest where
none supposed he would be successful in the
scenes where pathos and even tenderness as
needed he was excellent indeed.
We have rarely seen any actor 80 completely
lose his identity as this gentleman did in his
interview with Juiie in the fourth act, Just after
his dismissal of De Clarement, and i'm mediately
previous to his pronunciation Of the curse. The
heartfelt tenderness expressed by him in this
dialogue was almost wonderful, and the man was
so imbued with the scene and its surroundings
that actual tears coursed down his cheeks, and If
ever amateur deserved applause, Mr.. Onorato |
should have been treated to perfect ovation at
the conclusion Of that little speech. Had he
failed in every other scene, this alone would |
have redeemed him.
Throughout his entire impersonation there
was relieving lack of st1alning for effect; he
forced no points aud never outran his course
His costume was elegant and appropriate, much
more 80 than the dressing adopted by some
actors occupying high position in the profession;
every little detail was observed with care and
the entire effect was grand.
The effort was remarkable one for the first
sffannf nd J
tirety unqualified approval, 1t certainly deserves
appliance rs evinclng talent Of high order
Good support was rendered by Messrs. o Nellie
nd Buck as De Mauprat and De Baradas. !,