The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-04-11
A M u S E M E N rs.
wALLACK's THEATRE.

WALLACE s. THEATRE.
The new version OF "Les Files de MarbreD pre-
sented at this house last night achieved a fair
success IL was certainly presented Tor public
approval under conditions that could not have
failed 70 secure for II respectful attention. The
stage carpenters art was utilized 10 the utmost in
the more important scenes. and nothing
which was calculated 20 heighten the interest
OF the play was omitted 1t is evident that the
lesson OF the "Shaughraunn has been thoroughly
learned by the management and good acting is
no longer wholly relied upon to secure public
favor. The story OF the marble Hearth is SUM-
GENTLY wen known not to need repetition. In
the main incidents "Ralaelu BY which name
the new adaptation has been christened follows
pretty closely the original story, except that
the peculiar delnf-neonde faint attaching TO the
female characters in the French version has been
soltened down to suit the more severe morals or
the American stage. This part OF the work has
been very happily done. That is TO say, the
wlckedness or the women has been gloss a over
by the varnish or convent ional decency, which
covers but does not hide the rottenness beneath.
once or twice only did there occur illusions
broad enough to make prlm people start, and as
these are by no means necessary 1t would be an
Improvement to eliminate them. Although the
story OF fRafaep' IS replete with strong dramatic
situations, its interest is too sad for popularity.
OF Rafael upon which the whole story
plvots, is not one capable or attracting
or securing the HOOu Wishes OF an ordinary audi
ence. He is neither very NOBLE nor very wise
person, and IL Is Impossible TO feel very much in-
dignaton with Marco for casting Off a sentimental
is quite as outrageous as the deceit prac-
tised by his mistress toward himself Under
tnese circumstances the author did well
people that there was one sentimental idiot less
in the world In the present form this play gives
scope 60 one actor only It was intended to be
strictly Montague piece and IL Is The other
actors are merely so much material for the avorte
N NUn 1n nrh d0ft InfF
enhance the beauty OF the central jewel Even
Miss Dyas has been sacrificed to the necessity OF
giving prominence to Mr.. Montague ana, except
In the great scene in the third act where she dis
misses her poor lover, has really no opportunity to
Montague was known to the American public
simply as society actor some doubts. were enter
tse nea par, OF us Rsla paD apd grapp Vs WITH
adequate picture OF the stormy passion that
His performance last night, however, made very
favorable impression 1t was not a great per.
Torrance, but 1t was clever and adequate. In the
quarrel scene at the end OF the third act, Mr..
Montague displayed unexpected force ana inten-
slty. 1t is true that his picture OF human passion
was excessively Montaguelsh, II we may be par
doned the expression; but 1t had all the good
qualities OF the school TO balance its detects. The
conception OF the scene was certainly very good.
IL was passioniul, without ever ceasing to be
graceful; but tine voice was not sufficiently under
control. There was painful monotony IN the
plaintive accents OF the actor which, even In the
expression OF the deepest emotion and the most
stormy feeling ran IKE minor Key through the
Whole 2uHut q MS passion. IL was touching put
not manly. The death scene showed evidence OF
careful study and was well wrought out, out as
piece OF acting IL was naturally Inferior to pic
lures OF death scenes with which the public are
familiar. In the quieter passages Mr.. Montague
was, however Jt1ctte pTIecepS, and though he
has sufficiently demonstrated his power OF pctur-
ing violent emotIons, he has also shown
that his true vocation lies IN the path OF modern
comedy. Miss Dyas won new success In her
presentation OF the character OF Marco. 1t was
an admirably finished and well sustained piece OF
acting. The cod-hearted, calculating woman OF
nj WIT an
much artistic completeness. Ii was like a
work 0f MISSIONER on canvas finished
TO the minutest detail. and yet preserving
It's breadth ana Effectiveness. Quiet and natural,
IL is performance that Will be better appreciated
by the Intelligent few than by the masses. MI.
Beckett also, in the role OF NJ. Desgendis the
cynical editor, gave another proof OF his great
versatllit His acting was very natural ana he
produced an excellent effect without the appear
ance OF effort. The part OF NJ. Boisdore was taken
by Mr. Polk, and MISS Lewis played the part OF
Marie.