The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-05-04
A M u S E M E N rs.
LYCEUM THEATRE.

play new TO our public was produced last
night at this house under the title OF "Renata
dt FIancia." II deals with the story or the mas
sacre or the Huguenots II France or rather OF the
events that led up TO that memorable event. and
follows pretty closely It's history IL Is not enough,
however, in the theatre TO be historically accurate
and we could well pardon the author had he
abandoned the strictly historical and given as
something more lruy dramatic. The work is
clevery written IN that solemn style which seems
10 be accep; abba TO Italian audiences ana
gives the actors and actresses plenty or oppor-
tuuity Tor the display OF declamatory power. In
its action, however, IL Is very slow, and the two
fret acts can scarcely be regarded otherwise than
In the night Of o very long and not very Interest,"
ing prologue. The story OF -. BartnGomewis Eve
IL so well known That II Is scarcely necessary TO
reproduce IT mere. IL Is a theme which furnishes
ample scope Tor dramatic treatment, ana IN he
hands OF q clever playwright ought 10 De exceed
ingiy effective ana attractive. GlacOmetii mas
certainly not SUCCEEDED In doing 80. In his anx-
lety 10 be correct he becomes dun.
Whatever praise Il due to correct costume
and ndelfty 10 me minutie OF stage setting may
be freely accorded 10 the new plav. Indeed. IL Is
4 distinguishing feature OF plays produced under
the direction OF hme. RistOri, ana we scarcely
know wheJGer this merit resides In the actress or
the author. IN the first acts there Is not
sufficient scope for the display Of that tragic
power Hhica Is NINE. RistOT.s great attraction.
She scarcely be SAID 10 be the central figure OF
the play, because ne action does not appear to
hinge with sufficient directness upon her lndivtd-
uul fortunes. Othef persons constantly divide
and divert attention from ner, and yet
amid all the cOnspTlng ana plotting there IS NJ
general or central iCeA which commands CONF
peIs our attention. In MS dinHseness resides the
weakness o. the play. II Is also TOO mucn involved
In merely political and religious questions, and
deals 90 niue with the familiar human emotions
OF love aud nate 10 move an audience, au least an
American audience, which does not 90 to the the
atre to he lsctnred either on morality or the
encc of gOvern~~Snf, but wants TO be Interested
and amused. "Renata dt FTanCla' neither mar
rows up the feelings nor furnishes ovesicK
maidens ana spooneY young gentlemen with any
text upOn winch u haug up tns sOrrOws OF their
own hearts. Aud az people don't 90 10 the theatre
10 study history 'Renata d Francian is not nkely
to prove very attractive. In the third act, when
Renee begins 10 suspect the treacnery oil Catne-
enc Meoicls ana has ner suspicious confirmed by
the sudden nlness OF the Queen she mas
made the means 81 enirapping into the tolls OF
Catherine, there was anorded an opportunity Tor
the display ~ those grand guam les OF Nine. Ris
torI's acting which never fail OF effect with audi
ence. Her picture Uf awakening anger was IKE a
CLEAN oil sunshine. and frightened up the whole
act And aroused the spectators c. something Ike
enthusiasm. No euort OF genius could however,
maze the play popular with public that does not
understand the dialogue and must catcn tue
sense Of what i passing before them rather from
the actions tnan the words OF the actors. IL wiu
be presented again this evening, probably for the
last time.