, 1875-07-11
ings with Louise In it's ensemble, Mr. Rankin
presents spirited picture which has many most

1
! ps essnts spirited picture which has knAoy mos
excellent points.
Hiss kats Ctaxton, who pla7s the part ol
| Louise, has character which, With that o
Pierre, moves the emotions. Nothingis left uu,
done in the course OF the ptsy to make hel
| upon the sympathies Of ner audience. and i. ls
J not detracting from her forclble and affecting
| po.traiture 10 cay taat this gives her al
immense adTantaga before the curtain. his.
charms and aweet voice Her manne,
ia. We should judge not sufficiently firmly got to
be characteristic We are led to tuis remark BY
detecting in her personation OF Louise marks oi
Clara Morris It is impossible that 40 Artist OF
such ,a5s ma51ed personality as . Hiss MO-. MOI.
the Younger members OF tho profession.
Bv an unvielding law OF Nature, in
such case the personal recu!ia11ties
necessarily delects-a-e Impressed upon Tecep-
! tive material to the exclusion Of more admirable
qualities Mics CIn1ta1 hxa not escaped the in-
faction. and many OF her gestures REGAL! to mind
Mrs Iorns. Occasional tones OF her voice also
remind one Of this successful artist. 1t is to be
regretted for Miss Morris. great as she 10 in her
ach;eFemeata has reachod t16,n by methods
utterly incompatible with the usages OF the
stage. To borrow single gesture or tone from
her ia to 1end the fabric OF traditional acting.
MISS C1sxioo's manner IS eracefnloess itse'f. nu
til ahe draws hnr shoulders to her ears in q
IL CA-
cause it is iu harmony With everything she does
Miss Claxton cannot, because 1t is harsh aud uu-
natural to her st,le. We dwell upon this fea-
tuve Of her acting because it is otherwise so ex-
ceient, and because the introduction OF foreign
elements into il Ii 50 conap cuous. Her concec-
ton Of the part l., venture to say correct be-
cause there ID no particular merit IN making it
SO. Her execution OF it ia focc:ble. 1t is q
difficult task to sa"tatn position Of
uatelieved torture before an audience
1-.5 T.. ~ a..
cal tax Of coantcrfel:ins blindness, and retain
ing the fixed expression OF couEtenauee neceEsa-
n to the illusion. Tne acting is rather Of 4
physical than N intellectual order. and is effect
i've through she JOINT efforts OF ac.ress and au-
thor, the personal qualifications OF Ihe former
in illustrating the ideal OF the Latter being Of no
iii;;o account.
What IS ea,d OF the E.pefu1 influence OF Miss
Morns upon Miss Cl:xton'a manner applies NTH
equal force TO Miss Blanchard no has also, in
marked degree, the advantage OF persoual
beauty md interest. Toe rart does not call for
any great strength or bzilliancy, aad is couse-
queutly uitliu h9r grasp. There ara occasional
situations IN which greater passionate power
would be an Improvement On the Whole, how
evar, ono cannot witness Miss Dlanchards per-
to1:napce without being impressed With it IN the
most favorable manner.
Miss Fanny MorauI who PLAYS the part OF the
Couatess de Ltniae.. has y strongly emotional
character TO dea! wl.E- aud IL this Aar native oa
o7gv aud 1i7e experiences give hor aa advantage
over the younger ladies' Of the co.1oauy. Miss
MoEant's elocut1on is q. once striking. Perhape
in contrast With tha lighter aocants and more
colioauia rcanncr OF til. other players, it SQUADS
fe1Eal. Bat artificial US it il, feeling is so ad-
m;cxbI7 co3n.etfeted by art that one euiovB the
cont.1s:. Some Of the most passionate scenes
in tho play fall to the share OF Miss Morans snch
US tho scene in Hessrlette's chamber, and the be-
szavat, urougt, her emotions, OF her secret 10
the Count
ac.er-actlng 10 the whnlo pIac, ccatss rapuis:ve,
A33 to=r1ty1Dg as 1t uaay oe. Is tie Presentation
py Mrs. Mario Wilkins OF the widow F,'ocharl.
Naturally ladT Of attractive personnel, she
succeeds IN dls.orGn2 her face t. shad ~ forth
character utterly cruel, brutal, reckless, aud
ayRr1c;ous. She marks out every tender fem
inine lice, aud marks In the vttes: expressions.
Her carr ago, he: pe:go1. her voice. all bartaon-
ize ia depicting such character as the author
doubtless intended. suca Is ali OF us bare
works of fiction, and not few Of Us in actual
lite. It is not imrrobable that H. D'Ennsry
reversed the sex OF Fu;iTa, and modified this
monster to sH1t tho purposes OF the pla7. La
FrocACrd i'll usF tTealulen1 OF LOUISE is an EN-
bodimea: OF low cunuiu2 aau coarse bypacr1sy,
as well aB Of bzatal ia:tiTtre nee to Eu9etIog. In
her manner toward her nmsab!s son Jacques
she gives glimpse Of the ma.erna! instruct,
which survives even in such r.rocious human
vul:ures. Toward Pierre, too, there is d!sca:c-
\. d
type OF humanity, would be tenderness. but 1t
ie ten5e1ed with hanstual contempt, oppression,
.DG ueslec.. The scenes in which La F1-ochdrd
appears are sure to be tu!l' Ct interest.
They ere Eepu}sre, becaEse NIL euch ortrai:s are
re1ulsive, bu. the coLtras:s which oreeenl them-
selves-oerween La frocaard aud Louise be-
tween the zane cres:ure aud tho Countess; when
III conversation with the D0c1or.-aH these are
rich N dramatic efeet. alrs. Wilkins has played
here before. aad is remembered as b:1l!iant
t.rr4t 1Nr%I L.
.s one to be remembered by ese:y theatTe-8oer
as siandnrd Of aia=t!c hidaousnesa.
M:aa Ida Vernon plays the pzrt Of a religions
Sister with intelligence aad disc elton.
Aessrs. J. w. Thorpe, H y. Montgomery. and
II. ]. Coggsw=n played With this disadvantage:
tuat they Eere Ee- to their ra,is, while
il theiTs. TIE consequence was 1hat
their performance lacked that excellence
which the others possessed, while In themselves
deserving Of acknowledgment. Mr. Mont
go.nerr mas i queer Ecgsish way Of p!acing
comedy with stiff s,iue. and reiring for
effect upon tae gcggaa5 Of his eye
balls neither Of which act1oas is IN itself a
posi- to coua.s situation We do no: i'm
Eeach 3l-. Montsonery's sense OF hnu1ur, hut
merely remark that to Americans it is not IS
humorous AZ it might be. There are other mem
be-s Of the coupaay-Iz. Morris for instance
whose performances are E-asa o. thy. aud
others whom. to pass over silence until they
would BE- generous Suffice it that they coa-
t1tu:e to one OF the e1noot'lest and most re-
tnarkablc dramatic performances OF the day,
lnore c. less according IT, their abilities.
a notice OF The Two Orphans" would be iu-
conEle.e without word or two on the appoint
ueuts. Credit il due elu.liy TO :Ir. jackson In
demanding tae best thai could bo dcne; 10 Mr. |
IcGEiro for opeu,.s lis poeket-booS to meet |
The expenses; to Mr. George Mile: fer the man |
uer in which be has conducted the enterprise,
ptocured the nodel&, and selected the artist TO
copy them, and to Ms. Cotter for the pa'ntins. |
The two strongest scenes are the Place St. |
SuIcico in snov-sto-m End the court |
vard Of the prison OF La Saircr-icre. The gar |
ien Of Bel Air is also sell MT OF the stage. |
The mechanical o:fecis tie dressing, aud the |
music are I'll appropriate Ihs SLOW music play I
ID iu eoue OF the best scenes is a. detestable |
and e1as@eratiug 81 usual. bat no SLOW muslc |
.au be otherwise. Mr.. Ioesch was called upon |
lursiediy to i'm: rovi:e the music, ana how NELL |
10 has succeeded the audieaces will testify. |
. Tue Two Orphans" will remain hers three |
yeoxa longer. Bv that time perhaps :!Ie srecu- |
alton III tickets. which is hnrdehip and ILL
ustics to ths public, will have ceased
OTHER PERFORMANCES. |
A'y1cKEE's TaEATRx-